0:26

Hello folks and welcome back to

0:29

the Inside the Mix podcast

0:31

. If you are a returning listener , a

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big welcome back , and if you are a new listener

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And also that notification bell

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so you get notified whenever we go live

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. This is an episode of the

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legendary producers pub , which is proving

0:46

extremely popular since its inception

0:48

earlier in the year , and it is live

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on YouTube and it should

0:53

also be live in the Facebook

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group as well . It is now live because I've had to say yes

0:58

, facebook , you actually have to tell

1:00

it to go live , which is a pain . Anyway , i

1:03

digress . So today we have

1:05

I think everybody's been on before

1:07

, which is brilliant . So we've got Pashang , we've

1:09

got Subneon , we've got Tota , we've

1:12

got R9 . And we have Neon

1:14

Highway , who is sporting a

1:16

new mug And it is a Inside

1:19

the Mix podcast mug which he won

1:21

in this second giveaway . So if you

1:23

do follow the podcast on YouTube , you

1:26

should do that on Instagram . You'll see

1:28

that I frequently run competitions whereby

1:30

you can win shit , and he's won

1:32

a mug . The next one's going to be a t-shirt , so keep

1:34

an eye out for that . So if

1:37

you've never listened to the podcast before or this

1:39

particular format . This is an episode of the producers

1:41

pub whereby each artist has

1:43

submitted music 30 seconds

1:46

. We listen to it and then offer feedback

1:48

on it , and that is the sort

1:50

of process of this episode . So the

1:53

first one is

1:55

Neon Highway .

1:56

So if you can give us a little bit of background

1:59

about this track that we're about to listen to , So

2:02

the background to this track is that we've

2:05

all done Sintwave has done all

2:07

the classics , it's done the Breakfast Club

2:09

, it's done Knight Rider , it's done

2:11

all those guys . And one of the forgotten

2:13

heroes of the 80s is Street Hawk

2:15

and Jesse Mac , and he's motorbike

2:17

in what ? 1983 , 1984

2:20

. So I loved Street

2:22

Hawk when I was a kid . I loved it , absolutely loved

2:24

it . So I wanted to do something that

2:26

was absolutely retro , something

2:28

that's just like harking back to that before

2:31

even the mid 80s , you know , and just capturing

2:34

that Street Hawk ethic . So

2:37

this is pretty much the start of

2:39

a demo for what I'm

2:41

going to call Street Hawk .

2:42

Lovely

2:44

stuff And for the audience listening

2:46

. You released a song just

2:48

two or three days ago , If

2:51

I'm not . If I'm not incorrect , Yeah , it is fantastic

2:53

, so do go

2:55

and check that out , follow

2:58

us with everybody on this podcast . Do you go check

3:00

that out ? Anyway , i digress . Here we go , here we

3:02

go . Fantastic stuff . I

3:34

really like that . I think that's a great start . What

3:38

synths do you use out of interest for that sort of rising high

3:40

synth melody line ? So

3:43

I think that might be UHE .

3:45

Tyrell OK , I really like

3:47

that . I think that's nice . Even

3:50

it's really good that that is a Valkyria synth . She

3:54

put me on to this probably about a year ago

3:56

and the minute she put me on to it I

3:59

had a demo on the go and I thought you know

4:01

what ? This is amazing . This is the sound that I need , but it's an amazing

4:03

synth . It's quite limited , but it's got some

4:05

great little tunes And

4:08

if you just play about hitting the notes and see

4:11

what the sounds produce , yeah , there's some cool stuff in there

4:13

. I think it's mainly

4:15

a mix of Diva and UHE Tyrell . I

4:20

think limitations are good .

4:21

Yeah , you mentioned that when you have a synth and there are

4:23

limitations to it , otherwise you can just get lost In

4:25

the abundance of patches and various different parameters that you can tweak . Yeah

4:27

, and

4:30

sometimes I find limitations , specifically with songwriting . If

4:34

I'm limited to two or three soundscapes or synths or something along

4:36

those lines , i can quickly knock out a tune so much quicker

4:38

, rather than scrolling through And

4:42

then just finding out I don't actually use

4:44

anything . That I've just looked at , i don't

4:46

know , sounds cool , mate , the bass in it . Do you

4:48

only use synths synthesized bass , right , not

4:54

actual bass ? guitar ?

4:56

Yeah , just synths mate all the way .

4:59

So I'd really like to hear your tunes with actual

5:01

bass guitar . aren't they Like bass pumping in the background there

5:03

?

5:05

Well , that's really interesting actually

5:07

, because when I was writing this one , you don't really hear

5:09

it playing here and it's probably the

5:11

mix that I've got , But at the end

5:13

of the phrasing there's this really cool I

5:18

imagine if it was on a real basis , jumping

5:20

around the fretboard and sort of rising up again

5:22

. I need to kind of do more with that , But maybe

5:24

the solution to that is getting a real

5:26

bass player .

5:28

As a team bass player . I

5:31

just got myself a bass player to

5:33

play bass guitar instead of synthesized

5:36

bass , which I usually use for

5:38

my live gigs , And it gives it such a

5:40

fucking power . I feel like I'm messed up Now

5:43

when I listen back to my tunes I'm like look

5:45

at a bit of rock star . Here I am trying

5:48

to be all synthy . It

5:50

gives it some cool punch , a little

5:52

more aggression just because you hear that Real

5:54

bass . Cool . Yeah , I don't know . I

5:57

really like it , But this was fat

5:59

as it is . I would say .

6:01

You just need to get a good one , don't you ? That's

6:03

the problem . If you get a good bass player

6:06

, it can be wonderful for these things .

6:08

You can play guitar phenomenally . I

6:11

reckon you could give me a bass player . Yeah

6:13

, there we go .

6:16

Yeah , I can play bass .

6:17

I'll take a bass part from each of you .

6:20

Yeah , yeah , I'll do the bass part , Scott pump

6:22

those root notes .

6:23

I play bass a lot on lots

6:26

of things , but just not particularly on my

6:28

own tunes , Like because I don't sort of

6:30

I've never really thought of Synthwave

6:32

as having sort of real bass on it

6:34

.

6:34

So I think I would ask something . You want to do

6:36

the bass for it . but I'm going to get 12 different

6:38

bass parts back And I

6:41

don't know what to do with that . The guy's a

6:43

legend .

6:43

He is the synth bass king , you play

6:46

bass as well , don't you Sub ? Yeah

6:48

, yeah , yeah , bass and guitar badly

6:50

, but yeah many slapping .

6:53

He's got 12 hands . He plays 12 basses at once

6:55

And the bass

6:59

? That's how the most The most

7:01

respect for Sub-Neon's basses is . They are

7:03

incredible .

7:05

I use bass , actual bass , on all my

7:08

songs . But then again I'm not like Essentially

7:11

Synthwave . My stuff sort of morphs

7:13

and goes in other directions . But

7:15

like Toto was saying , I find as soon as I put actual

7:17

bass guitar on it , the guy I get to play

7:19

bass is a really good bassist . He's like Steve

7:22

Harris , like Doing all that shit , And

7:25

it just Yeah . It

7:27

just takes it to another level , I find . But it really

7:29

depends on the song . Some songs don't need it , you know

7:31

, But I'd be interested

7:33

to know Just the bass pumping in the .

7:36

I think that's the way forward . yeah , I think that's the

7:38

next addition to the track once I start

7:41

writing properly . Does

7:43

anyone remember Street Hawk ?

7:45

Oh yeah , absolutely Yeah

7:47

. not as much as I want to , because that wasn't

7:50

actually a lie when it came out shockingly

7:52

, but I

7:54

do remember watching a bit of it .

7:56

I always remember being you had the A-Team air-wulf

7:59

night rider and I always thought

8:01

that Street Hawk was the fourth one

8:04

out of those lot , but it only had one

8:06

season , so it was clearly crap and

8:09

I remember it much better than what it actually was

8:11

.

8:13

You look back with nostalgia and you

8:15

think it's a lot better than it actually is , purely

8:17

because it was in the 80s . I think that's what a lot of it

8:19

is . You think , oh , it's in the 80s , it was great . And

8:22

if you watch it in the 80s , as you put

8:24

yourself in that situation , you probably be thinking , actually , this is quite

8:26

shit .

8:27

I think having stuff like

8:29

that though Street Hawk , i mean seriously , i

8:31

think having something like that is

8:33

the motivation for writing the track . It's like

8:35

I'm watching loads of Street Hawk trailers

8:37

and clips from the show and I'm like

8:39

I feel motivated , i'm like I need to do something

8:42

, where the motorbike's going really fast and jumping

8:44

30 feet in the air and shooting sharks and you

8:47

know , it's just , it's

8:49

kind of that energy and that motivation

8:51

And by the end of it we'll have a track that has absolutely

8:54

nothing to do with Street Hawk and I'll

8:56

call it Street Hawk and it will have a motorbike helmet and

8:58

a cover And a shark , yeah

9:01

, and it's synthwave . Often , as

9:03

people look on it and go , i remember that and that's

9:05

a bit of nostalgia , you know . I just have the sun

9:07

floating in the background and suddenly

9:10

I feel all happy and fuzzy and all that kind

9:12

of stuff . So that's what it's about .

9:14

I didn't know Street Hawk , but no

9:17

bullshit . When I was listening to the song I felt

9:19

the motorcycle so I was like yes

9:21

, this is a motorcycle tune , it's definitely

9:24

for just long roads , So

9:26

you definitely caught a vibe that

9:28

somehow translated to Well , Street Hawk

9:30

was the ultimate high-tech crime

9:32

fighter .

9:33

I remember that part .

9:34

Need to write one for Chips . Do you remember

9:36

that ? It was about two guys who

9:38

just sat around light on

9:40

a motorcycle all the time , but it wasn't

9:43

very dynamic . But you know , Chips

9:45

?

9:45

Yeah , I believe the Street

9:47

Hawk motorcycle was supposed

9:50

to go at 300 miles an hour and it was

9:52

just like nope . Maybe

9:54

that's why it only lasted one season . They were

9:56

like pfft , the guy just went too fast . He outrun

9:58

all these seasons in one go .

10:00

Cool , neil Highway . Thank you very much

10:02

, i think , in the interest of time . I

10:05

love these nostalgia trips . It's great . I often find

10:07

the podcast . It never usually sticks to its script

10:09

, and I always do that with interviews . So

10:12

, moving on to the next one . So we have Tota . What

10:15

have we got ?

10:17

I just I love how spicily you're

10:19

pronouncing my name Tota

10:21

. I know I've been upgraded to Tota

10:24

, but I like it , i'll go with it . So

10:28

this is a piece of

10:30

my latest

10:32

single it's just a couple of weeks old

10:34

right now , i think And

10:36

I basically wanted to create something with

10:38

a lot more drive and more

10:40

punch . and I'm

10:44

coming out of having made a

10:46

very vaporwave-esque

10:48

cinematic type album and

10:50

started doing more live shows and I wanted to create something

10:52

where I was like this is gonna make people fucking dance

10:54

, this is something that's gonna bring a

10:56

lot of energy on stage . so a

10:59

higher BPM , more drive and then not

11:01

being afraid to mix influences

11:04

, kind of .

11:05

Cool , excellent stuff . Let's

11:07

give it a go . Here we go .

11:12

Then you can go Just

11:17

to get a taste of you . I'm hungry like a wolf . you

11:19

got me losing my mind . You

11:22

got me mesmerized . I'm hooking . Stop feeling

11:25

of your love .

11:28

I need your love . That's

11:38

really cool . There's a vocal

11:40

hook in there and

11:43

it reminds me of a song that I cannot think of .

11:44

That reminds me That is the one . Yes , that's it . You've been on for

11:46

a while .

11:47

Oh God That might help something off completely

11:49

. No

11:55

, no , it's good because , yeah

11:58

, exactly , multiple influences . But that's

12:00

what I could hear

12:02

And I was picking up on that . I was like , oh man , i'm loving

12:04

this , i can hear how bass guitar would sound

12:06

good on this as well , like actual bass . Yeah , oh , it does

12:09

. Like I really thought of that sound . Yeah .

12:11

It really . It lifts it , in my opinion . I wanted

12:14

, like that little disco choir coming in with that cheesy

12:16

The line . that was apparently from something else

12:18

that you recognised . It was specifically

12:20

me wanting to be like oh , how can I make it sound

12:22

a little more disco ? It's

12:24

like super high falsetto , little

12:27

cheesy one-liner .

12:29

It can't stop the feeling of your love . I

12:33

think it sounds great . I love that . I picked up on it straight away

12:35

.

12:35

But it was a kind of gated effect on the vocal

12:37

. That was amazing

12:40

.

12:40

Yeah , i really have to give that to the

12:43

audio engineer , because after

12:46

having recorded it , we'd

13:12

mixed it and gotten it to a point where it was kind of done . I was

13:14

like it's not feeling electronic

13:16

enough , it's not feeling clubby enough with

13:18

just this really long belty I

13:21

need your love chorus that I was

13:23

singing out . I was like , can you just kind of chop

13:25

it somehow ? And we literally just Twisted

13:28

the dial one step and it ended up in the pattern

13:30

of Yes

13:33

, it's immediately the kind of retro , but

13:36

I wanted .

13:38

It was a lot of fun It is . It has a bit of

13:40

like an early mid 90s dance , like

13:42

Techno vibe to it , right Like

13:44

I was definitely wanting to do this a little bit . Yeah , listening

13:47

to it .

13:47

For sure , was trying to pull it a bit out

13:50

of the 80s but then keep that kind

13:52

of typical synth wave , just

13:56

a pulsating bass To

14:00

kind of anchor it in the synth wavey vibe

14:02

.

14:02

I like that 80s 90s , 80s

14:06

, 90s crossover thing though and that that club

14:08

energy . But like you know , i think you've definitely hit that dance floor thing , but

14:11

it's it's got . It's still got good songwriting

14:13

underneath it . I can tell you know there was

14:15

a bit of a hungry like the wolf Comment

14:19

in the lyrics there . We were all like comment

14:22

in the lyrics there which might have been

14:24

somewhat gerandesque , but you

14:26

know , yeah .

14:28

I think I changed it hungry

14:31

like a wolf . Yes

14:34

, there you go , No copyright infringement . I

14:37

was specifically like oh , is this two clues ? Nah

14:39

, i'll be good .

14:40

I don't know why wolves are so hungry , but that's

14:43

the question .

14:44

Yeah , they hunt it in packs , don't they ? So you

14:46

think that ?

14:46

There we go . It's just a . You think that

14:48

they'd have a hunting in packs ? Be quite successful

14:50

.

14:50

Yeah , exactly , they'd be successful in their hunts . Not

14:53

when you don't get the lone wolf . I think that's a

14:55

myth . The secret meal .

14:58

Well , yeah , you don't get them around here and watch it ? I

15:01

just don't think we get wolves . We don't get wolves in this country

15:03

. do we Correct me if I'm wrong ? No , we don't get

15:05

wolves . No , we don't get wolves .

15:07

So R9 , what have we got ? What are we going to listen to

15:09

? I haven't heard this yet .

15:12

Well , i mean , i could give you all this bullshit

15:14

about it , but I just wrote it a few minutes

15:16

ago before you came on air because I

15:18

needed something to talk about , and that's really the

15:20

bottom line of it . So yeah , i don't

15:22

know , i mean I just sort of put together

15:24

something and it's got

15:27

a bit of a craft work

15:29

, i reckon , influence in there . It's got a

15:31

bit of , maybe , floyd

15:34

influence in there . but

15:36

I think I could head off

15:38

into a bit more guitar-ness

15:40

in this . It's only got one chord in it so far

15:42

, so I wouldn't call that a guitar epic yet . But

15:47

yeah , it's my

15:49

sort of synth way of something . I

15:52

don't know , i hope it might turn into something , but

15:54

at the moment it's a bit of a sort of 16 bar masterpiece

15:56

. but it's something to listen

15:58

to , so you can all pick it apart and

16:00

tell me .

16:01

I love the idea of like prog craft

16:03

work . I'd love to know what that sounds like , some

16:05

sort of prog-based craft work . But here

16:07

we go .

17:08

I never listened to that originally . There was

17:10

the craft work .

17:12

Yeah , the sounds that you've got there and the composition , i

17:14

could imagine it . I don't

17:16

know if any of you have watched the series called Bones

17:18

, a US series , but it's

17:20

something like that , where they're going out to view a

17:22

crime scene in the mid-naughties

17:25

and they're just venturing

17:27

up on a crime scene . That's what I can hear with that first bit

17:29

there , but then when that jangly

17:31

guitar comes in that

17:34

guitar reminds me of another track . I can't think

17:36

of what it is . This

17:40

is terrible . There's another track as well , and

17:42

I'm going to have to listen to it again after the show

17:44

.

17:44

I think it might be another brick in the wall as well , but

17:46

like you know , yeah .

17:50

But I like when that guitar comes in . I really like that and it's

17:52

going to bug me the song I'm thinking of because I

17:54

can't no , I'm not going to die because I'm not going to

17:56

. I'll spend the next hour trying to think of it , but

17:58

I think it sounds good , mate . I think I can

18:00

definitely hear the craft work element of it . Obviously

18:03

it needs fleshing out , as you say , because it's only just started

18:06

, but yeah .

18:07

Yeah , yeah , it needs some . Yeah , he's

18:09

literally just trying to come up with something , but

18:11

I think it's got merit . But

18:14

you tell me , you tell me that's what you're all here

18:16

for .

18:16

Yeah , yeah . Well , what's that bass

18:19

sound ? What's that ?

18:24

The bass sounds a bit of a mixture

18:27

of a Jupiter 8 kind

18:29

of . There's a kind of contact

18:31

version of Super 8 I

18:33

think it's called which is their Jupiter 8 kind

18:36

of thing . And then there's also

18:39

there's the Korg Poly 8 , 100

18:41

, of course , the Korg Poly synth on

18:43

top as well , like the classic synth

18:45

way of things . So I mix the two of them . I do that a

18:47

lot , actually mix the

18:49

Korg with , like you know

18:52

, something like either

18:54

an Oppenheimer or a Jupiter

18:57

8 or something like that . It's just something that's got a bit

18:59

more color to it and you

19:01

know it works better with the mob wheel and the filter

19:03

and gives you a bit of color , and then sort

19:05

of mix that . So the bass you play

19:08

in the same notes but you know they're just like one's

19:10

got a bit more that solidity

19:12

that I think you get out of the Korg and then the

19:14

kind of color that you get out the other

19:16

ones or the filter , so

19:18

I like the two Yeah .

19:21

How long did it take you to produce ? end to end , would

19:24

you say .

19:26

About an hour . How

19:28

jealous are you ?

19:29

mate Really

19:31

, really jealous , that's like four

19:34

weeks worth of work for me to get to that stage

19:36

.

19:36

So the key question here , tim

19:39

, is this like you spent an hour on it , what

19:41

did you focus ? I say focus . focus

19:43

might be the wrong word , but how did you sort of like

19:45

? did you already have the sounds mapped

19:47

out that you wanted to use , or do you

19:49

just have like a template and just write all right , there's my synth

19:52

, there's my drums , there's my lead ?

19:55

No , i really started from scratch

19:57

completely . So I just like was

19:59

just sort of , you know , i

20:01

kind of guess I sort of put a fairly straight

20:03

rhythm together and then went

20:06

back on to that straight rhythm and sort of

20:08

added some things . Later once I got something

20:10

, but you know , got a bass line up and

20:13

then got some chords going

20:16

for a few pads . And you know , you , i

20:18

often write in a sort of eight , 16 bar

20:20

sort of thing and put lots of ideas

20:23

in and then start

20:25

to arrange it quite quickly and

20:27

then go back and go , oh , what does it need

20:29

? I think the difficult bit was coming up with a little

20:32

lead , that lead sort of craft work , you lead thing

20:34

that comes in at the end there . That that

20:36

was hard to kind of get

20:38

the idea for that you know , and

20:40

I might need to . I mean , the

20:42

thing is I often write

20:44

things quite quickly but that doesn't mean that

20:46

they're all done and produced and that

20:49

bit takes forever while I decide whether

20:51

I like the snare for like the next four

20:54

weeks . So it's not , it's not

20:56

quick , it's not at all quick in that

20:58

way . But you know , i just pick it apart

21:00

now , for I mean sometimes I think I shouldn't

21:02

and I should just go with my vibe and just

21:04

keep running with it and and have it all

21:07

done and then be on to the next track . But , like

21:09

you know , i don't tend to be like that . So yeah

21:12

and sometimes you do lose something of that

21:14

. I don't know whether everyone else thinks this , but that

21:17

is the problem , isn't it ? of keeping that initial

21:19

energy and vibe that you're when

21:21

you're writing something and

21:23

then sort of still loving

21:26

that track as much when you finished

21:28

it and , not having lost

21:30

that initial energy and vibe

21:32

while you're trying to get it perfect with

21:34

the production , which is , you get nailed

21:37

, get sort of so focused on

21:39

that that you actually begin to hate the track

21:41

, lose half the you know initial

21:44

sort of bits that you liked

21:46

or something you know , lose the sort of vibrancy

21:48

of it . So it's hard , but

21:50

yeah , who knows , maybe it will turn into

21:52

something yeah , i'm

21:54

my own number one fan on Spotify

21:57

.

21:58

I actually love my own music . I

22:01

got my Spotify wrapped last year and

22:03

you're like , here's your number one fan and it was

22:05

my fucking own account . I

22:07

couldn't post it on .

22:10

Instagram . I love my own music .

22:12

I don't just make music because it's like

22:14

, i don't know , i don't get sick of a track . If I get

22:16

sick of a track halfway through , i just can it . I

22:18

only produce music I

22:21

and release music I actually like and

22:23

actually want to listen to a whole bunch after it's out

22:25

, sometimes to critique the mix , like we all

22:27

do , but sometimes just because I want to listen to the fucking song

22:29

it's

22:31

. It's a little depressing sometimes

22:34

because the track I just released a

22:36

couple days ago with Dimmy K has

22:38

already passed up my favorite track from

22:41

my void LP like

22:43

that I released a year ago in total place

22:45

and it took like less than 48

22:48

hours and I'm really proud , but

22:50

I'm really disappointed at myself for the void

22:52

LP at the same time .

22:55

I think , going back to what you said there , there for

22:58

sure I think you got like your own music , though , haven't you ? if

23:00

you're releasing it , i mean you've

23:02

got to be able to listen to it . I don't , it isn't being

23:04

interesting . Question is anybody released music semi

23:07

recently , like in the last couple years , that they're

23:09

thinking , actually I wish I hadn't released , that you don't have to

23:11

name the track if you don't really want to , but

23:14

is anyone ? yeah , i mean I . I

23:18

probably got a song or two that I wish I could go

23:20

back and rethink .

23:23

I kind of like my

23:26

mistakes , not even regrets . It's

23:28

more like growing pains or

23:31

I guess a sign that my style fucking changes

23:33

and that my mood changes

23:35

because I did very

23:37

much like the song that I wrote and

23:40

released when

23:42

it was released . It's just that now I

23:44

guess my ears are different listening

23:46

back to it . But

23:50

yeah , i find it difficult as well to

23:52

how much do I hold on to an original idea

23:54

versus how much do I let myself polish

23:56

it and strive for some sort of perfection

23:59

, because I have a tendency to fall in love

24:01

with my demos As

24:03

I'm trying to find a new shape for

24:05

it or a new sound , or , like I say , i'm looking for

24:07

the perfect snare sound . I'll

24:10

realise that I'll be listening to my demo version

24:12

for a month straight and now everything

24:14

sounds wrong . That isn't the fucking demo version

24:16

. So I'm kind of stuck being like in

24:18

a Stockholm Syndrome

24:21

type of situation where I'm in love

24:23

with the hostage of my demo , but

24:25

I'm trying to elevate it .

24:27

That sounds like an album . I'm in love with

24:29

the hostage of my demo . I

24:32

like that , it's good . But

24:36

I mean it's really it's quite

24:38

a well-known thing that some very big

24:41

artists will say that

24:43

they do a demo version on some four

24:46

track or whatever , like if we're looking

24:48

back in time And they fall

24:50

in love with some sound on that

24:52

, which they then spend

24:55

stupid amounts of time in studios trying

24:57

to recreate And it can be really

25:00

hard because they

25:02

can't release the demo . but they've got

25:04

something on that demo that is really hard

25:07

to end up within

25:09

. the final thing And I think that's

25:11

part of it is the skill or

25:13

the battle is to try and

25:16

keep your things fresh and keep

25:18

them . there's kind of things

25:20

that you do by mistake . Don't over

25:23

just say oh no , that's terrible

25:25

. I must get rid of that . Sometimes you've

25:27

got to hold on to things that have got something

25:30

, have got something interesting in them , and

25:32

not overthink it and like change

25:34

everything and over sanitize everything . But

25:36

it's really hard . It's

25:40

my battle anyway .

25:42

So , leon , what are we going to be listening

25:44

to ?

25:44

next . Oh , i'm

25:46

not sure how to describe this other than a bit

25:49

of a mess at the minute

25:51

. I bounced this probably

25:54

an hour and a half before

25:56

we went on air And

25:59

, if you'll remember , i'd sent a previous version

26:01

yesterday and then I decided I didn't like

26:03

it overnight . And

26:06

yeah , it's

26:08

one of those ones that's kind of the opposite of Tim's

26:11

workflow . I kind of build

26:13

it up and build it up and then I start

26:15

falling out of love with certain elements and

26:17

I want to change things around and then it loses

26:19

its kind of magic along the way . So

26:22

I've fought my way through

26:24

this thing this afternoon to

26:26

get to the stage of where it is . It's absolutely

26:29

nowhere near where I want it to be . It's

26:32

got kind of three sections in it at

26:34

the moment and I

26:36

would appreciate your thoughts It only

26:38

has eight bases , so I haven't gone over

26:40

the top this time .

26:42

And it's called Sinister .

26:47

It's very restrained of you Subneon , so yeah

26:49

well , you know you've got to take it easy .

26:51

Well , this is it . Yeah , you got . yeah , it's the summertime

26:54

and all that , Here we go .

27:24

Yeah .

27:47

Cool , matt . My initial thought was when

27:49

it was playing around 25 seconds

27:51

. I was thinking I could do with it like

27:53

stopping or like dropping out

27:55

slightly , and then it came in at 30

27:57

seconds . So it sort of answered what I was gonna say

28:00

. But that's what I was

28:02

expecting to hear there after that was like it to

28:04

drop out and then come back in . I

28:06

think a change of tempo will be good as well in

28:08

that . But do you ever think cause

28:10

you mentioned that about your songwriting and you get to the point

28:12

where by you have all these different things going on . I

28:15

don't know if anyone else experienced this , but when you throw

28:17

stuff at a track , you keep throwing bits

28:19

and pieces at it like a demo , and then it gets

28:21

to the point whereby you just lose sight

28:23

of it altogether . I've done that before where I've had like track

28:26

upon track upon track upon track upon track and

28:28

you keep adding to it and then trying to

28:30

make it better And then it just doesn't go

28:32

. I don't know . I used

28:34

to suffer from that quite a lot . I remember one track I was

28:36

mixing . There was like 48 , 50

28:38

different tracks in it And I was like it's just crazy Is that

28:41

a lie . For

28:43

me it was My latest stuff . I've got

28:45

about 25 tracks , if that , I

28:47

think .

28:49

But yeah , i went .

28:49

I think I had this I think I

28:51

was gonna say I think Tolta mentioned this a while

28:54

back , which was about going

28:56

through your tracks and then getting rid

28:58

of , like killing , your darlings . I think you called it

29:00

, It might yeah , yeah

29:02

, and getting rid of those elements that just aren't contributing

29:04

And I've been doing that since and it's greatly brought

29:07

that track count down . I've got

29:09

fun on a tangent here a bit And this is based

29:11

off what you said before the song . but yeah

29:13

, my thought was space

29:15

and it came in , So there we go .

29:18

I thought the demo clip was over and he was just

29:20

like being really classy , letting it echo out

29:22

. And then it came back and I was shocked .

29:25

Yeah , yeah , i was the same . I thought that it

29:28

was really cool , man , really cool , some great sounds .

29:32

I absolutely loved it . The

29:34

texture play between the different

29:36

sounds that you use was almost visual

29:40

when you listen to it . The amount of

29:42

difference that you're playing with and all

29:45

the rhythm switches . as a drummer , i

29:47

was like , yes , such

29:50

an exciting track and so satisfying

29:53

with a groove kicked in with a bass line

29:55

towards the end . Just an

29:58

absolute roller coaster

30:01

of excitement . I definitely think you

30:03

should keep doing whatever

30:05

you're doing , even if it's painful . I just

30:08

dragged this out for seven minutes and

30:10

I'll be listening to it .

30:15

My feeling would be that you've got exactly

30:17

what Tosa said . That's really

30:19

all going on in the tracks , which is excellent

30:22

. To be honest , i think it's going on

30:24

in . You know . There's some things that are

30:26

going on in all of your tracks , like some similar

30:28

sort of things that you're

30:31

interested in , like that really captivate

30:33

you , that make you want to write music , and they're coming

30:36

out and your style is coming out in your tracks

30:38

, a lot of that rhythm

30:40

and , like you know , you've got a lot

30:42

more going on rhythmically than maybe some

30:44

synthwave tracks have and that sort of thing . But

30:47

yeah

30:49

, most , but at the same

30:52

time I think sometimes it's

30:54

that it's just knowing

30:56

how

30:58

much to put in , and it is

31:00

that thing that Mark was saying . Sometimes

31:02

it's just like do I need that

31:04

extra bass on this one or can I make this

31:06

really punch through and be really powerful

31:09

without bass ? number seven

31:11

you know , like 6.5

31:14

was enough , like no . You

31:16

just sort of find like that you just balance

31:19

things up and less

31:21

is more when you still

31:23

may keep what

31:26

you're trying to achieve in there , you know . And then

31:28

I'm not saying you want to stop trying

31:30

to achieve what you're trying to achieve . That's the point , you

31:32

know , i'm not saying dumb it down in

31:34

any way , but like at the same time

31:36

, yeah , i think you might

31:39

. The real struggle is to manage to

31:41

make it as powerful and , as you know

31:43

, energetic and as

31:45

interesting and have all those textures , but

31:47

maybe just to

31:50

shed out the sort of bits that aren't , aren't

31:52

necessary , which the probably are some

31:54

at times .

31:55

Oh yeah , we don't find it . Yeah

31:57

, absolutely , i mean I've , i'm I

32:00

when I , when I write I add

32:03

in the track or a synth sound , and

32:05

then I play it for a bit and then I don't like it

32:07

, then I mute it , then I bring in another track and then

32:10

change the preset , but I leave

32:12

it there just in case I might want

32:14

to go back to it and then I'll turn it on again

32:16

And I'll say , oh , that quite sounds , quite nice

32:18

together . So then you know

32:20

, and it keeps kind of layering up like that And

32:23

I've got too much stuff going on in there listening

32:25

back to it now After

32:28

the drop and it comes in with that big

32:30

baby hands in the air kind of synth . It's

32:34

so much cleaner and there's only two

32:37

basses playing there .

32:37

So you know yeah , that

32:41

bit does feel cleaner . Yeah , yeah

32:43

, yeah .

32:45

But also what you do really

32:47

amazing as well is

32:49

in Russia . I actually think Russell Nash is very

32:51

good at this . Within about three seconds

32:53

of any of your tracks starting , you

32:55

can say that's a sub neon track instantly

32:58

And that's an amazing thing to have , like

33:01

amazing , to have a signature sound . I think

33:03

you have that . Russell Nash definitely

33:05

has it in that very retro sound and Clinton

33:08

has it as well . Minute Clinton track

33:10

starts like that's Clinton , you know

33:12

, and so I think you know it's trying

33:15

to balance getting

33:17

the track right but also being you

33:19

know what . I'm fucking sub neon and I'm going to make

33:21

this sound exactly like sub neon because

33:23

you're the only guy that's doing that .

33:27

I was just going to say kind of the same thing , like I

33:29

think it's really interesting to see how , anytime

33:31

anybody who hasn't heard sub neon here sub neon

33:33

for the first time , they're just like , holy

33:36

shit , that's good Again , it

33:38

always had . Every single time it happened

33:40

Somebody's introduced to sub neon , they're just like , wow

33:43

, this is synth wave , this is so much different

33:45

, but it's so good . And

33:47

I have the same risk every time he sends me a track

33:49

to listen to , i'm just like that's

33:52

some neon . This guy is on another level

33:54

, man .

33:55

So that being said , i think

33:57

I think it's actually just the limitation

33:59

of my knowledge of the other , since limit

34:04

.

34:04

Creative limitation is a good thing . I think

34:06

Mark said that at the beginning of the episode .

34:08

Yeah , yeah , yeah , i did . Yeah , i think limitation

34:10

is good , man . I think I think one way

34:12

to describe your music is like immersive

34:15

, and this goes back to what Toto was saying earlier . It's like

34:17

you listen to it And it is very

34:19

immersive . I think , if you were to , you should

34:21

consider this is getting it like a Dolby Atmos

34:24

mix of your tunes and see what it sounds

34:26

like , because I can imagine if you were to do

34:28

that , it would sound incredibly immersive

34:30

, as it would do because it's Dolby Atmos , but I

34:33

think it would sound amazing . I mean

34:35

, money is it's easy for me to say that go

34:37

and find a Dolby Atmos mix and get it mixed and Dolby

34:39

Atmos , but I would do it , man

34:41

, i just to see what it sounds like , because I think it would sound

34:43

incredible , and then yeah

34:46

, I'll bear that in mind .

34:47

I want to get over a certain number of streams

34:49

.

34:49

When we say immersive , don't try listening to it

34:51

in a submarine .

35:00

Tell you what .

35:01

I can't speak highly enough of these

35:03

headphones , these VSXs

35:05

. I'm not on the payroll , by the way , but it

35:07

really does make a big

35:09

difference in you gonna make me go buy , to pick out

35:11

the different sort of areas of mud and stuff

35:13

.

35:13

Steven Slate is busy writing the check as

35:15

we speak .

35:16

He did . Yeah , I should get some sort of like affiliate

35:18

linking .

35:21

Yeah , yeah , no , you

35:23

would they have . I've been

35:25

mastering your stuff and I can tell

35:27

I could tell straight away when you sent me mixes

35:29

like it was just like a whole

35:32

load of stuff had really cleaned up and

35:34

lower mid sort of range , really really

35:36

big difference . So they must

35:38

be good . And then I just mastered it on my

35:40

crappy speakers and it sounded alright . So there

35:43

we go .

35:45

Brilliant . Thank you , zed Nion . Fantastic

35:48

stuff . So final one Pashang

35:50

. What have we got ?

35:52

So this

35:54

is a track that was supposed

35:56

to end up going into my Shredway

35:58

VP that I'm releasing as soon

36:00

as Russell and

36:03

Typhirion finish their guitar parts Assuming

36:05

they do . Typhirion

36:08

, i can't wait . I haven't heard his stuff yet , but I

36:10

know it's going to be amazing . It's going to be insane , and

36:13

I've been jamming live with Russell over

36:15

Discord and , oh my gosh , the dude

36:17

has so much talent , he's so self-deprecating

36:19

but he's so freaking good at guitar . It's

36:21

insane . Anyway , i digress

36:24

as one does on this show

36:27

. I have a bunch of extra tracks that I wanted to

36:29

put in the EP , but then I thought maybe

36:31

I don't want to put guitars in all of these . I

36:35

had this whole story that I came

36:37

up with and Dimmy K kind

36:40

of smacked me on the back of the head and said , hey , idiot

36:42

, that's what people want to read . They want to get that

36:44

context to the music . So why don't you

36:46

actually write that out ? So I did , and

36:49

then it ended up inspiring me to write a whole bunch of other

36:51

songs with little

36:53

tales from the Resistance , which I think

36:55

is going to be the title of the EP . It'll be a follow-up

36:58

to the Shredway VP , but not necessarily

37:00

all guitar stuff , and this

37:02

one is a track called

37:04

The Evolution Chamber , where

37:06

the evil robot overlords are stripping

37:09

the flesh from their hapless

37:12

victims and remaking

37:15

them in their own image to join the infinite

37:17

Legion . It actually features at

37:20

this point in time and hopefully he'll

37:23

let me keep it . Some really good voiceovers

37:25

from Sub-Neon as

37:28

the evil robot torture master

37:30

. But we didn't do that part

37:32

Oh , right yeah .

37:33

Oh there we go . Yeah , we decided that we can

37:35

. He's the man of Betty

37:37

.

37:38

Collins , you got here .

37:39

I was going to leave it in there because it's right

37:41

after the clip cuts off is when he starts talking . And

37:44

I was just going to say fuck the rules . I'm letting

37:46

y'all hear Sub-Neon's cool evil robot torture

37:48

master voice , but it didn't fit .

37:51

No , he should have left it in there .

37:54

It's so good . It's so good . I sent him the

37:56

script and I was like I'll see what he does . And

37:58

then it's just such a good job . I was like hey , do you want to just collab

38:00

on this ? And now I think we might actually release it

38:02

as his first collab . No

38:04

pressure , but you know , now

38:07

it's out there on the internet . You know it's been said

38:09

, but yeah

38:11

anyway , the robot torture master is

38:13

not in here , but the guitars in this

38:15

clip are up for

38:18

deletion . If you think they're not

38:20

relevant to the track , please let me know

38:22

and give me some

38:24

. Give me some critiques , because this is a genre

38:26

I haven't worked in very , very

38:28

much like the really heavy dark synth and

38:31

I really love it . It's my favorite genre

38:33

to listen to in synthwave , but it's

38:35

a lot harder to produce than you know it

38:37

sounds to be honest . So

38:39

hit me with some brutal feedback . I do enjoy

38:41

getting a little bit of gut punches

38:44

every once in a while , and Russell's really good for

38:46

that , but he's not here . So you guys have to settle in for

38:48

that Sub in , if

38:50

you will .

38:50

Okay , here we go then

38:52

. So shout out to those evil

38:55

robot overlords . I love that story . I love

38:57

the fact that Sub neon is also moonlighting

38:59

as a robot overlord as well , which

39:02

is great .

39:02

Yeah , yeah , yeah , shout out to Tim .

39:08

I think he's part machine .

39:09

Yeah , from the cupboard

39:11

, here we go . Okay

40:02

, this

40:07

is , this is the . I think this is where the limitation of the

40:09

Riverside platform comes in .

40:13

Right Oh it's different .

40:15

It's different to the one that you submitted to me , because

40:17

my thoughts are coming from the metal background and being

40:19

a metal guitarist is I'd want more sort of like

40:21

me on those Where the hell are the guitars

40:23

.

40:23

But it's just being all cut off about 400

40:25

Hertz .

40:26

Yeah , it sounds like

40:28

if I was going to liken it to a guitar time . it's like it

40:30

reminds me of Pantera , like Dimebag Darrell's

40:32

guitar time .

40:33

That's a compliment .

40:35

Yeah , scoot mid . Oh , mate , i love Pantera

40:37

. I've been watching the live show , live stuff

40:39

recently and it's great to see him back on stage

40:42

, Um , albeit without the two brothers . But

40:44

yeah , i would want more meat on

40:46

those on those guitars , more

40:48

like I really want them to down

40:51

. I can describe it just when

40:53

they're chugging , i want them to chug . So

40:55

you want ?

40:55

more guitar . Not kill the guitars , but

40:58

make the guitars bigger in the mix .

41:01

Not necessarily bigger is the sound

41:03

itself because , as you , say it sounds like they've been

41:05

top and tailed and then you've lost a lot of that low

41:07

end chug . But you've got to be careful there

41:09

, because you've got . You've got a lot of bass going

41:11

on as well . Do I ever ? So , yeah , you've

41:14

got to marry , you've got to weigh up . Okay , if

41:16

I'm going to , if those guitars are going to extend into

41:18

those low mids , then they're going to compete with that

41:20

bass I've got going on . So you've got to , you've

41:22

got to weigh up the two . But definitely

41:25

keep the guitars in there . Man , i'm with the guitars

41:27

in this , but I just think they need the

41:29

sound sculpting needs to address

41:31

.

41:31

Oh for sure , I'm absolutely

41:34

terrible at mixing guitars .

41:36

I found that it's quite an art

41:38

, it's quite tricky , but

41:43

leave them in , When the highest

41:45

stuff came in the melody sort

41:47

of .

41:47

There was a sort of melody that came in there . I

41:49

felt like in the mix I wanted to hear that more

41:52

and get a bit more detail of what was going on

41:54

. It may be this audio

41:56

listening across here , but I couldn't hear the melody

41:58

very clearly . But

42:01

I loved the . I loved

42:03

the sort of chug and the

42:05

vibe with the drums as well . I thought

42:08

like they were hitting the mark and you know

42:10

, yeah , it was

42:12

had a good energy , all of the groove

42:14

.

42:15

There's power in those drums . You've got power in

42:17

those drums When that snare and that kick

42:20

drum combined .

42:20

Yeah , that's true , I actually . I usually hate

42:23

the combo of my snare and kick , but this

42:25

one I actually like it . It sounds pretty good .

42:27

I think they hit really well . I think

42:29

they sound , they punch very well

42:31

.

42:32

I love that sound . It's very much like

42:34

Midnight Danger meets Pertorbrator

42:36

.

42:38

I like that combo . All right , sign me up

42:40

for that . It's hard , man Hard , that's

42:42

real good . That's one of the reasons I made a follow-up

42:44

EP is because there's a bunch of material I made

42:46

for the Shredwave EP that was just too heavy . Because

42:49

I realized something like halfway through making

42:51

the EP like Shredwave is

42:53

not necessarily the darkest music in synthwave

42:56

It's just shreddy and

42:58

I want to go dark . I want like

43:01

the intro of this track is a solid minute 15

43:03

seconds of torture , screams and robot

43:05

. Like there's

43:07

a lot of sound design in there , like it's pretty

43:09

intense . Sorry , subdion

43:14

, what have you signed up ?

43:14

for Yeah , I did not provide

43:17

the screaming He did not .

43:19

But you know , if you want to add to it , get

43:21

another layer in there . By all means , Just

43:24

channel that . Channel that like post

43:26

meeting anger and just get it on the mic .

43:28

I was thinking for a bit

43:31

. I love the darkness and the grit

43:33

of the tune . Have

43:35

you thought about incorporating like machine

43:37

sounds into the beat , like

43:39

a robot walking , like a

43:41

factory type ?

43:43

of That's a great idea .

43:44

It's so weird because fair factory stuff

43:47

Yes all the stuff , all

43:49

the mechanical Foley sounds , disappear

43:53

right before the clip starts , and then Subdion's

43:55

killer voiceover starts right as the clip in

43:57

. So I managed to find the least interesting

43:59

part of the track and send it to you guys .

44:02

I was going to say that I think you've said

44:04

like it's a great part , but I think you

44:06

could have sent us either the sub neon bit or the

44:09

, the , the atonal sound bit

44:11

with it , with those found sounds , because if you get

44:13

like those , those fair factory like

44:15

star sounds in there of mechanical

44:18

shit going on that sounds weird .

44:19

I think I might actually layer in some of that stuff because

44:21

, like you said , some of the like

44:24

the low mids are feeling a little

44:26

muddled and maybe having a little

44:28

bit of clanky clanky stuff going

44:30

on there might

44:32

might introduce a little bit of variety to it . And the

44:35

reason I sent this bit of the track is because this is the part I'm

44:37

least confident about . It

44:39

feels more generic , dark synth and

44:41

less , you know , robot

44:43

torture , screaming soundscape , slash , robot

44:46

torture , master voiceover , which

44:48

I'm very confident about . So

44:51

I said the bit . I wanted . The feedback on the rest

44:53

of that shit you can't touch , i'm just keeping

44:55

it .

44:58

I don't know if anybody knows the track Reptile by

45:00

Nine Inches Nails

45:02

Very much plays to what I

45:04

was saying around , like servo

45:06

motors and mechanical , but also

45:08

captures from Mark was saying about that

45:10

. you know that crunch

45:12

, you know it's it's crunchy and it's playing

45:15

to the guitars but it's got the industrials and I

45:17

think Reptile is probably the ideal reference

45:19

track for this .

45:20

That's a good call . I don't know you go back to that . I haven't

45:22

listened to that song in ages and I actually

45:24

I bought a Foley pack of mechanical

45:27

servo motors and clanks and clanks

45:29

and stuff like that specifically for

45:31

this track and it's all in the

45:33

intro . So

45:35

I'm just going to bring some of that into the the main

45:37

verse part then . That's a really good bit of

45:39

advice . I'm going to try that immediately .

45:42

No , okay , just rhythmically

45:44

as well . It's also on

45:50

the . The bass is in the same , the shredding

45:53

is in the same vibe and

45:55

the synthesizer that's kind of falling

45:57

in an arpey kind of way is

45:59

in the same rhythm . And with that stability

46:02

beat Like laying down

46:04

the ground work , it gets very factory-ish

46:06

. And I'm thinking you could add a

46:08

Subneon type little rhythm

46:10

, switch up at the end of a bar , if you wanted

46:12

to give that more dynamic , if this period in particular

46:15

Just towards the end of a loop or something

46:17

. Cut out something

46:19

and bring it back in , because that rhythm is

46:22

so steady . We all get into the machine

46:24

of it all like we know where we're going

46:26

with that beat and that's . That's the charm . But

46:28

that also gives us a super power note to take

46:30

it away and we'll completely fucking be a battle

46:33

by it .

46:33

I Know you can't

46:36

do it with this song , but I think if you're

46:38

going down a dark route and you're going into this like

46:40

really Mechanic

46:42

, mechanical soundscape and stuff is like

46:44

when the when you get the guitarist in , maybe

46:46

consider dropping the tuning . I think

46:48

if you were to think about like I'm a mile

46:50

bad , we should play and drop B . I'm not saying go drop B

46:53

because I was heavy as piss , but maybe

46:55

like Actually , yeah , maybe

46:57

drop B . I think drop B on that would sound so

46:59

heavy man . But maybe consider

47:01

tunings on the next ones as well , on the next track

47:03

, and think , because I don't know what tuning

47:06

that's in , but it sounds like it's going to be in standard

47:08

. I could be wrong , it's actually

47:10

a nine string guitar .

47:12

I'm just not using the bottom

47:14

two strings And

47:17

it's in drop C sharp I .

47:21

Was way out , then it's not nine string

47:23

guitar , it's not a real guitar .

47:24

It's not a real guitar , so bloody cable is

47:27

a Really

47:29

good VST called ample

47:31

metal Hellraiser

47:35

and I just got

47:37

kind of good at programming it to sound

47:39

pretty realistic And it got . It has a lot

47:41

of articulation tools to kind of give you

47:43

that Realistic vibe , as long

47:45

as you don't get too far away from the chuggy stuff .

47:48

Does a pretty good . Oh , yeah , yeah , yeah , yeah

47:50

, yeah , that was , that was cool . Oh , it's

47:52

really impressive .

47:53

Yeah , I can absolutely change the tuning

47:55

easily and At

47:58

some point in this follow-up EP I want

48:00

to do a full on Mick Gordon track

48:02

, just like full on dooms 2016

48:05

soundtrack vibe , and

48:07

I keep almost getting there

48:09

and then too far

48:11

and taking it back . So one of

48:13

these days I'm just gonna let it rip . But for

48:16

this track , like you said , that factory vibe was that kind

48:18

of something I was going for , but

48:20

I think I might have hit it a little too on the nose . So

48:22

like dialing it back a bit and mixing up some of

48:24

those rhythmic switches and Adding

48:26

a bit more clinky , clinky foley and there might be a

48:28

good idea solid feedback , you guys . Thanks

48:30

so much .

48:31

Nice man , i was gonna say if you're ever in the need

48:33

of , if you want like dropped guitar , like just

48:36

riffs , give me a shout , man . I'm sure

48:38

I don't know what tunings my guitars are in . I've

48:40

got two Jackson DKMGs

48:42

with 81 , 85 pickups and they're pure

48:44

.

48:44

I've seen my Instagram post . It's the summer

48:47

of shred . Come on , man , just send me

48:49

some .

48:52

Probably have to be fair .

48:53

It's just I yeah yeah

48:55

, summer is nowhere near over , sir . Let

48:57

us just send me some riffs . Send me some shreds

48:59

. I'll send you a track , shred , let me .

49:02

Yeah , it's shreddings that I will put

49:05

my head up and say shreddings , not my forte . But if you

49:07

want rhythm , i really know big

49:09

knives cut to do that .

49:10

I'm on some deep chart , chunky , chunky

49:12

shreds to it . Now I have to be way up on the front board

49:14

.

49:16

Yeah , yeah , well , i'll see what we can do , mate . Um , no

49:18

, that sounds great . I'd love to play some metal . I'm hell

49:20

Yes now we're talking Fantastic

49:24

. I hope that was useful folks . I was gonna

49:26

say Jensen , but alienating talk

49:29

folks . Um , this has been great . I've

49:31

loved this episode . We've gone off on proper tangents

49:33

, talk about wolves , seagulls , music

49:35

. It's been great . I'm just gonna go over to YouTube

49:37

. There's no one there . Facebook There's no one

49:39

there either . So there we go . Um , what

49:41

we'll do is we'll go round . We've had four people

49:44

on YouTube and You

49:46

can just highlight where the audience can find

49:48

you and if you've got any key dates

49:50

or anything coming up , just shout that out , because this episode

49:53

will go live . It's the second July today

49:55

and it's gonna go live a week

49:57

on Tuesday , so

49:59

I'm gonna go round . We go from the

50:02

first one . So neon highway Where can we find you any key

50:04

dates ?

50:06

I'm just at neon highway synth or

50:08

an Instagram and there's a link tree for everything

50:10

. New

50:13

track just came out and that's about the last thing that I've got in the calendar

50:15

at the moment , but seems to be getting good

50:17

feedback , so go have a listen .

50:21

Fantastic and Dota .

50:25

Yeah , i'm at Todd's voice on Instagram

50:27

. Otherwise

50:29

, any of your streaming platforms as just Tota , and

50:33

if you happen to be listening from Sweden

50:35

, i'm gonna be laughing at my name now .

50:38

Am I saying ?

50:39

I think it's because I've been put out to the wrong .

50:40

I think that might be what it is . She thought you were finished

50:43

.

50:43

You thought you were finished . Oh

50:48

, Sweetie don't say that

50:50

to any Finnish people . Oh my god , i

50:52

.

50:54

Feel like , with this , this fringe , i've got going on , i'm

50:56

basically finished .

50:57

I thought you were , i thought you

51:00

were , because the pronunciation

51:02

I got finished in Yonna

51:05

and if I was from Texas I'd be

51:07

saying Jauna , anyway

51:09

, anyway , yeah , no well

51:12

, it was just saying

51:14

.

51:14

I have a gig coming up 29th of

51:16

July , so if you happen to be in Malmö , come

51:19

catch us . We'll be playing The

51:21

recent singles as well as a lot from the

51:23

album .

51:24

Fantastic and I all

51:26

nine .

51:29

Yeah , oh no , i'm well . You

51:31

can find me at all nine music

51:34

on Instagram and there's link tree there for absolutely

51:36

everything else , but you'll find

51:38

me on pretty much every social

51:40

media thing at all . Nine music , yeah

51:44

, and you can come buy a nice t-shirt . There

51:46

we go . And I've

51:49

got I think I'm going to sort

51:51

of have a new single out I've

51:54

just had it turn over , drive out and I've got

51:56

a single out that I've

51:58

sort of worked on for just Scott

52:00

recently , and I've got a new one of

52:03

mine that I'm gonna sort of get out of

52:05

the next few weeks , which I think is going to be called worlds

52:07

away , and that's going to be another

52:09

instrumental one . And then I've

52:12

got a gig coming up Dust

52:14

Graves in London but it's miles away

52:16

, but like just to warn you in October

52:18

, and which is going to be very cool , i

52:20

think , with some other awesome retro

52:23

musicians . So that's going

52:25

to be really good and , yeah , that's

52:27

just gonna be lots more music . I think I'm

52:29

hoping so .

52:31

Fantastic , lovely stuff . I'm looking

52:33

forward to that gig . In the same month I'm watching

52:36

Blaise Bailey and I'll

52:38

nine . Doesn't get much better than that blaze

52:40

Bailey of .

52:41

X does and does it really ?

52:42

and then our nine not the same gig , although that

52:44

would be really good . I'd love to see blaze Bailey and

52:47

you team up . But there we go . Um , fantastic

52:49

, and there's sub neon .

52:53

I can never remember what my socials are , so that's

52:55

why I've shoved them all on a website , so you

52:57

can find me a sub neon

52:59

net . My next

53:01

single , called

53:03

Thunderheart , is coming out on the

53:05

28th of July

53:07

. As mastered by Tim

53:11

over there , it's done a fantastic job

53:13

, as always , and it's coming out on retro

53:15

synth records , my first release on the label .

53:17

So yeah , whoa

53:20

and

53:23

Pashank so

53:25

I just released a couple

53:27

days ago my debut single

53:30

from the summer of shred Main

53:33

thing , the resistance EP , and

53:36

the track is called lockdown . Features demikane

53:38

guitars and it's It's performing

53:41

pretty well so far . It's out on streaming in bandcamp

53:43

. Please go by demikane

53:45

a coffee vicariously through me at Pashong

53:48

dot bandcamp . Calm , i'm

53:50

on Instagram is Pashong audio and you

53:52

can find me all over the place . My next

53:54

track is called GGFO , featuring

53:57

the uncanny master

53:59

of shreds and also mastering engineer

54:01

, for the album ran and That'll

54:03

be coming out middle of July And

54:07

then from there the full album will follow

54:10

and the follow-up album after that . So

54:12

there's quite a lot of stuff going on this year . Hope

54:14

you guys stick around to catch it .

54:17

Fantastic folks . I will put all those

54:19

links in the episode description before we sign

54:21

off For those listening slash

54:23

watching . If you would like to join us

54:25

on an episode of the producers

54:27

pub , do head over to inside the mix podcast

54:29

on podia Com and

54:32

get signed up for an episode of the producers pub

54:34

. Alternatively , you can head over to

54:36

Instagram and click the

54:38

link in the bio and join us , as we

54:40

have done today . The next

54:42

one is going to be on a 30th of July

54:45

and then we're taking a slight break and then we're coming back

54:47

in September , october and November with some more

54:49

episodes . So , folks , it's been an absolute

54:51

pleasure . Thank you very much And I hope you've enjoyed it

54:53

and I would do it all again soon .