WEBVTT - Korn's Munky and Head 0:00:01.680 --> 0:00:04.560 Hello everyone, and welcome to another episode of Inside the 0:00:04.600 --> 0:00:07.760 Studio on iHeart Radio. My name is Jordan run Tug, 0:00:07.920 --> 0:00:11.240 but enough about me. My guests today play guitar for 0:00:11.280 --> 0:00:14.080 one of the most enduring and popular rock outfits on 0:00:14.120 --> 0:00:17.640 the planet. Not even several bouts with COVID and slowed 0:00:17.680 --> 0:00:20.720 them down. Their new album came together in the excess 0:00:20.800 --> 0:00:24.680 downtime and four of them by the pandemic called Requiem, 0:00:24.720 --> 0:00:28.240 their fourteen studio disc is something of a homecoming. The 0:00:28.360 --> 0:00:32.040 strip back sound, captured on analog equipment, cuts straight to 0:00:32.080 --> 0:00:35.199 the heart and Jonathan Davis's visceral lyrics make for this 0:00:35.320 --> 0:00:38.720 one of the most affecting releases in years, Following in 0:00:38.720 --> 0:00:42.680 the wake of the Nothing. Shaped by the emotional devastation 0:00:42.720 --> 0:00:46.680 in Davis's personal life, Requiem comes across like a Catharsis. 0:00:47.000 --> 0:00:50.240 The lead single Start the Healing is an optimistic step 0:00:50.280 --> 0:00:54.080 towards a private piece. I'm so happy to welcome twin legends, 0:00:54.120 --> 0:01:04.560 Monkey and Head from Corn. First things first, how are 0:01:04.560 --> 0:01:07.319 you both doing? Everybody feeling healthy and good? Monkey? I 0:01:07.319 --> 0:01:09.959 know you were under the weather a bit uh health 0:01:10.040 --> 0:01:14.240 me recently, yeah, but I'm feeling better now and thank 0:01:14.280 --> 0:01:18.680 God and I'm thought wood and it's uh, it's just 0:01:18.720 --> 0:01:22.880 one of those things we're all having to live with now. Yeah, dude, 0:01:23.920 --> 0:01:29.040 Mokey got COVID twice. That is insane. Your immune system 0:01:29.160 --> 0:01:33.360 must be like It's like we're gonna test him. We're 0:01:33.360 --> 0:01:35.200 gonna make them go out in the crowd and walk 0:01:35.280 --> 0:01:40.280 around fifteen people tonight. But I got a two weeks 0:01:40.280 --> 0:01:44.759 ago too, so I'm I'm I'm past it. Oh man. 0:01:44.840 --> 0:01:49.200 But you you're both feeling good. You're feeling uh happy, healthy, optimistic. 0:01:49.320 --> 0:01:52.560 We're happy, healthy and optimistic. Yep. Oh that is good 0:01:52.560 --> 0:01:54.280 to hear. I mean, that's so much to talk to 0:01:54.360 --> 0:01:57.200 you about. Congratulations on Requiem. I can't wait for fans 0:01:57.240 --> 0:01:59.360 to hear this. Um. It sounds like it was a 0:01:59.440 --> 0:02:01.800 very different type of album to make for a number 0:02:01.840 --> 0:02:03.480 of reasons. I mean, part of the silver lining I 0:02:03.520 --> 0:02:05.520 guess of not being able to be out on tour 0:02:05.600 --> 0:02:07.000 for the last two years was that you could take 0:02:07.040 --> 0:02:10.400 more time on this album and really, uh focus and experiment. 0:02:10.440 --> 0:02:16.680 What was that process like? Man? For me, Um, it 0:02:16.800 --> 0:02:20.320 was it was such a relief to get in a 0:02:20.440 --> 0:02:24.560 room with my friends and make music. And honestly, it 0:02:24.600 --> 0:02:28.000 was it was like uh. It once we were all 0:02:28.120 --> 0:02:30.040 there together and we were able to figure out how 0:02:30.080 --> 0:02:34.960 to get everybody in the studio safely, and it didn't 0:02:34.960 --> 0:02:38.280 even matter, honestly if we wrote any music, you know, 0:02:38.280 --> 0:02:40.560 because it was just we had been locked in this 0:02:40.639 --> 0:02:44.000 lockdown kind of a situation for a couple of months 0:02:44.080 --> 0:02:46.760 or maybe three months at that point, and we were 0:02:46.800 --> 0:02:50.240 just like happy to see each other and and hanging 0:02:50.240 --> 0:02:53.639 out and catching up with each other. I mean, eventually 0:02:53.720 --> 0:02:57.160 we picked up our instruments and we made great music together. Thankfully, 0:02:57.200 --> 0:03:01.480 when we hang out, that's that's what we do. But yeah, 0:03:01.560 --> 0:03:03.520 it was a relief just to see one another and 0:03:04.440 --> 0:03:07.359 because we didn't know what was gonna happen, you know. Yeah, 0:03:07.440 --> 0:03:12.640 that's been nice me for nothing else a change of scenery, right, Yeah, 0:03:12.680 --> 0:03:15.440 And me and Ray did not I mean, we didn't 0:03:15.440 --> 0:03:19.040 mind risking our lives for our friends and flying from 0:03:19.160 --> 0:03:22.120 Tennessee all the way to California when they they could 0:03:22.120 --> 0:03:25.920 just drive their little cars to the rehearsal and no, 0:03:26.040 --> 0:03:28.160 but there was it was during the pandemic, so there 0:03:28.240 --> 0:03:31.120 was like twelve people on each plant. It was awesome 0:03:32.080 --> 0:03:37.400 and stretch out. Yeah, no lines, no chaos, It was 0:03:37.440 --> 0:03:42.680 just really chill and um. I remember when it happened 0:03:43.320 --> 0:03:46.600 and they locked us down. I was like, I didn't 0:03:46.600 --> 0:03:48.320 think we're gonna be able to fly. I mean it 0:03:48.360 --> 0:03:51.960 was so gnarly at the beginning, and I was like, finally, 0:03:52.040 --> 0:03:57.080 these guys like Jonathan and James Fielding, especially like they've 0:03:57.120 --> 0:04:01.040 never had time off, you know, and and and uh. 0:04:01.080 --> 0:04:03.680 I mean they had time off, but no more than 0:04:03.720 --> 0:04:07.080 probably like two or three months before something else has 0:04:07.120 --> 0:04:10.160 to happen with Corn. And I was like, finally, nothing 0:04:10.240 --> 0:04:12.680 has to happen with Corn and they're forced to stay home, 0:04:13.240 --> 0:04:15.000 which was I thought it was a good thing, and 0:04:15.040 --> 0:04:17.839 it was, but then it turned into like, Okay, I'm 0:04:17.880 --> 0:04:21.240 losing my mind a little bit here being the teacher, dad, 0:04:22.360 --> 0:04:26.400 disciplinary and all this to their kids. So what they 0:04:26.440 --> 0:04:28.680 were just on text going we gotta go do we 0:04:28.720 --> 0:04:32.320 gotta work, I mean da, So that's it. That was. 0:04:32.560 --> 0:04:34.839 It was like therapy for us, you know, just like 0:04:34.920 --> 0:04:37.040 music has always been therapy, and it was like therapy 0:04:37.080 --> 0:04:40.560 for us. Oh man, I can only imagine. I know 0:04:40.920 --> 0:04:42.280 you mentioned. The one thing was a little bit of 0:04:42.600 --> 0:04:45.080 different than about these sessions was that Jonathan was there 0:04:45.080 --> 0:04:47.520 from the get goes you're building the tracks, and he's 0:04:47.520 --> 0:04:49.279 been saying in interviews how cool it was to be 0:04:49.400 --> 0:04:51.240 there in real time and write in real time with 0:04:51.279 --> 0:04:53.800 you all. How did that dynamic impact the music with 0:04:53.880 --> 0:04:57.000 him being there? Oh, it was such a nice change 0:04:57.000 --> 0:05:00.720 of pace because you know, in previous maybe three or 0:05:00.760 --> 0:05:03.520 four albums that we've done, he's been dealing with the 0:05:03.520 --> 0:05:09.520 other stuff. Uh, and Brian and I were always kind 0:05:09.560 --> 0:05:13.120 of like working um in the dark in a sense. 0:05:13.160 --> 0:05:15.880 You know, we're always kind of creating something that we 0:05:15.960 --> 0:05:18.960 think he may like, and then we're sending him three 0:05:19.000 --> 0:05:21.559 or four songs and maybe, you know, we're not sure, 0:05:21.680 --> 0:05:25.279 and there's this uncertainty that we have. And with this 0:05:25.440 --> 0:05:28.719 we were able to make changes. And he's pairing off 0:05:28.760 --> 0:05:31.960 with Ray or he's pairing off with me helping like 0:05:33.120 --> 0:05:36.800 a chord structure or something. And it was so much 0:05:36.839 --> 0:05:38.680 fun to have him in the room and see him 0:05:38.720 --> 0:05:44.279 so engaged and just I'm seeing him, you know, whispered 0:05:44.480 --> 0:05:48.520 song melodies into his phone while we're in the room jamming. 0:05:48.839 --> 0:05:52.599 So that was really fun and different. And maybe Brian 0:05:52.600 --> 0:05:54.720 and I like, look at this guy, who is this guy? 0:05:55.240 --> 0:05:57.960 Look out? He's like a different person almost, you know, 0:05:58.040 --> 0:06:01.000 he's still Jonathan, but he's just in such a great 0:06:01.040 --> 0:06:06.839 place emotionally and and and it's just nice to see. 0:06:08.279 --> 0:06:10.480 I must be encouraging too, just to see him like 0:06:10.880 --> 0:06:13.080 talking into his phone, putting up parts. It's like, oh, yeah, 0:06:13.080 --> 0:06:15.000 what we're doing. This is good, Like it's been sting 0:06:15.040 --> 0:06:20.080 on everybody else in the room too. Usually and prior albums, 0:06:20.160 --> 0:06:24.120 like when I came back, we were always good, but 0:06:24.320 --> 0:06:27.680 there was kind of a tension, at a slight tension 0:06:27.800 --> 0:06:32.599 with what like we wanted to do this guitar heavy 0:06:32.680 --> 0:06:35.720 corn like we would did in the beginning, and I 0:06:35.760 --> 0:06:41.080 think he wanted it, but Jonathan like other genres too, 0:06:41.120 --> 0:06:43.920 and so it was like, you guys, good to your thing, 0:06:44.000 --> 0:06:47.000 and I'll do my thing. And then our producer would 0:06:47.040 --> 0:06:49.240 play him what we wrote and he would go, I 0:06:49.320 --> 0:06:52.240 like that song. I don't like that song. That one's cool. 0:06:52.720 --> 0:06:57.800 And so now he comes in and it's like he 0:06:57.920 --> 0:07:01.840 fell in love with that heavy guitar stuff again, and 0:07:01.880 --> 0:07:05.960 he like sometimes he's like, let's do doom death metal 0:07:06.080 --> 0:07:11.240 right here. You know, it's so awesome. And then um 0:07:11.280 --> 0:07:15.600 and he's in there every day. Just it's like I said, 0:07:15.640 --> 0:07:17.920 he was always down with us, but he would listen 0:07:17.960 --> 0:07:20.480 to the songs that we did, and so with his 0:07:20.560 --> 0:07:23.720 hand involved with what we're doing, he's got more like 0:07:24.040 --> 0:07:27.080 uh energy and hard into it, and it just works 0:07:27.160 --> 0:07:29.240 better that way. That's how we started the band, just 0:07:29.360 --> 0:07:33.160 doing it this way, everybody in the room together and 0:07:33.160 --> 0:07:35.640 and it's just uh, it took a minute, you know, 0:07:35.880 --> 0:07:39.080 once I came back to get back there. But I 0:07:39.120 --> 0:07:41.200 love it now. I love how it is with him 0:07:41.240 --> 0:07:46.080 coming in. Yeah. I love the nothing, but this record 0:07:46.120 --> 0:07:48.000 felt it felt more personal in a way. I mean 0:07:48.000 --> 0:07:51.960 if it more stripped back or reminded me of the Untouchables. Yeah, yeah, 0:07:52.000 --> 0:07:54.600 I definitely had. It was important for us to um 0:07:55.080 --> 0:07:59.239 well that that era, I think because at the time 0:07:59.280 --> 0:08:04.040 we had this doucer, Michael beIN Horn, who demanded such 0:08:04.080 --> 0:08:07.640 a high bar for us to meet with with with 0:08:07.720 --> 0:08:13.280 sonics sound, the techniques that he used. Um also he 0:08:14.320 --> 0:08:17.480 made us kind of you know, we've learned a little 0:08:17.520 --> 0:08:20.240 bit from each producer, I think, and we've kind of 0:08:20.240 --> 0:08:23.920 collected all of this along through the years too. Um 0:08:24.360 --> 0:08:29.559 used now today and in how we compose a song. 0:08:30.000 --> 0:08:32.000 And I think Brian and I are so much better 0:08:32.559 --> 0:08:35.240 and Jonathan than at telling a story now in a 0:08:35.320 --> 0:08:38.600 song and what what we want to hear and what 0:08:38.720 --> 0:08:41.160 we want the listener to kind of get out of 0:08:41.200 --> 0:08:44.040 the song, and we never know until it's finished and 0:08:44.120 --> 0:08:47.200 we let people hear it. But for us on on 0:08:47.240 --> 0:08:50.280 the creative side, UM, I think I don't know if 0:08:50.320 --> 0:08:53.520 I answer your question, but it's a but it's an 0:08:53.520 --> 0:08:57.160 awesome what you're saying. Thank you. Um. Yeah, But it 0:08:57.240 --> 0:09:03.319 was just a process that we uh, you know, adopted 0:09:03.400 --> 0:09:07.160 from all these producers and we're able to kind of 0:09:07.400 --> 0:09:11.199 put them all to use in this in this session. Yea. 0:09:11.400 --> 0:09:16.720 Ever since Ross Robinson, producers have been just like teachers 0:09:16.760 --> 0:09:19.800 to us, you know, because they they're in the studio 0:09:20.440 --> 0:09:23.400 for a living over and over and over again, so 0:09:23.440 --> 0:09:26.160 they know a lot and they and we learn a 0:09:26.160 --> 0:09:29.000 lot from them. And uh, I mean, I'll tell you 0:09:29.040 --> 0:09:31.440 what each band that all these fans that listen to 0:09:31.520 --> 0:09:36.920 music and every band that they love, if if that 0:09:37.000 --> 0:09:40.520 band didn't have a killer producer, they would sound like ship. 0:09:41.240 --> 0:09:45.920 So producers are so important for all these records that 0:09:46.000 --> 0:09:50.080 the world's are the world here's yeah, and you know, 0:09:50.320 --> 0:09:53.559 on this record, we had our producer, our friend Chris 0:09:53.600 --> 0:09:56.839 Collier worked with us and he is so talented he's 0:09:56.920 --> 0:10:00.679 such a great year, and you know, he's had his talent. 0:10:00.920 --> 0:10:03.040 One of the talents that he has he can play 0:10:03.120 --> 0:10:07.800 drums and guitar, bass, He can run the computer and 0:10:08.040 --> 0:10:12.280 edit and mix and I think one of the talents 0:10:12.360 --> 0:10:18.120 that he is really strong at and was telling us, uh, 0:10:18.160 --> 0:10:21.120 you know what, I've heard you do that before, and 0:10:21.240 --> 0:10:25.760 in a creative, constructive way where it's not like no, 0:10:25.960 --> 0:10:29.120 that sucks, but that's not a producer's job anyway. But 0:10:29.520 --> 0:10:31.440 you know or I've heard that I've heard you guys 0:10:31.600 --> 0:10:34.360 do that before. Um, can you know, And it really 0:10:34.440 --> 0:10:36.559 kind of pushed us to get out of our our 0:10:36.640 --> 0:10:39.719 comfort zone, which you know at this age is like 0:10:39.800 --> 0:10:42.040 you you kind of dig in and and you you 0:10:42.080 --> 0:10:45.680 get a little bit uh said in your ways, and 0:10:46.240 --> 0:10:48.960 you know, so for him, he was able to kind 0:10:48.960 --> 0:10:51.520 of like, if you want to do something new and different. 0:10:52.000 --> 0:10:55.200 You know, I'm not trying to make you guys upset. 0:10:55.320 --> 0:10:58.760 I just I want you to sound like old corn, 0:10:58.920 --> 0:11:03.160 but today what people want to in you know, well 0:11:04.600 --> 0:11:19.600 at the time, but I mean you mentioned all that 0:11:19.600 --> 0:11:21.720 that you've learned from all these producers that you've worked with, 0:11:21.760 --> 0:11:24.480 and this is your think fourteen studio album and you've 0:11:24.520 --> 0:11:26.360 been doing this a long time, You've learned so much. 0:11:26.400 --> 0:11:29.520 How do you keep these records sounding so fresh and 0:11:29.559 --> 0:11:32.160 excited and that that raw spontaneity that you have when 0:11:32.160 --> 0:11:34.440 you're first starting out is because I imagine it must 0:11:34.440 --> 0:11:38.880 be tempting to over over intellectualize so much stuff when 0:11:38.920 --> 0:11:41.720 you know you you you've learned your your studio pros. 0:11:41.800 --> 0:11:43.760 Now you know kind of what you want the sounds 0:11:43.800 --> 0:11:45.679 to be, like structure of the songs. There's a lot 0:11:45.679 --> 0:11:48.360 of musicians who, you know, Paul McCartney doesn't know how 0:11:48.360 --> 0:11:50.200 to read music, and he doesn't want to because he 0:11:50.200 --> 0:11:52.560 thinks that would take some of the spontaneity out of it. 0:11:52.600 --> 0:11:54.920 How do you kind of strike a balance between knowing 0:11:54.920 --> 0:11:56.840 how to achieve the sound you want while keeping it, 0:11:56.920 --> 0:11:59.240 you know, something that's really fresh from your soul. I 0:11:59.280 --> 0:12:04.320 think to uh two points A. Our love for music. 0:12:04.400 --> 0:12:11.200 We love what we do still and be it's our vulnerability, 0:12:11.400 --> 0:12:13.679 and we get nervous every time we do a record 0:12:13.720 --> 0:12:15.600 because we want to do the best things. So it 0:12:15.679 --> 0:12:18.520 keeps us humble kind of like being like, oh, you know, 0:12:18.559 --> 0:12:20.640 I hope we can deliver this time. You know it's 0:12:20.640 --> 0:12:23.480 been you know Are we gonna run out of tricks? 0:12:23.600 --> 0:12:26.559 Are we gonna run out of melodies or ideas and risks? 0:12:27.080 --> 0:12:30.240 And that's a combination of the humility and the unknown 0:12:31.240 --> 0:12:36.640 and the love for writing and creating. And I'll add 0:12:36.679 --> 0:12:43.240 to that and say, see, um, we we tend you know, 0:12:43.320 --> 0:12:48.800 we trust each other so much creatively when we Uh, 0:12:48.840 --> 0:12:51.760 when Brian has a riff idea or I have a 0:12:51.840 --> 0:12:54.880 riff idea, or Jonathan has an idea, you know, it's 0:12:54.920 --> 0:12:57.920 like huh. We try to look at it from their 0:12:57.960 --> 0:13:01.319 perspectives and think, Okay, hey, I'm gonna I'm gonna step, 0:13:01.480 --> 0:13:03.640 I'm gonna step outside of my carverent, I want to learn. 0:13:04.440 --> 0:13:06.800 I'm gonna teach me what it is you're saying, like, 0:13:07.280 --> 0:13:11.160 I really want to understand it, you know. Um, So creatively, 0:13:11.160 --> 0:13:14.600 we've always we've always trusted each other when somebody has 0:13:14.800 --> 0:13:17.800 an idea, and it may feel uncomfortable at first, but 0:13:18.080 --> 0:13:20.760 some of those songs I think of songs like Got 0:13:20.800 --> 0:13:23.600 the Life, some of our biggest songs, it was like, 0:13:23.920 --> 0:13:28.240 oh this feels uh, I don't know man, And even 0:13:28.280 --> 0:13:32.400 like start the Healing Um that song. Uh, these guys 0:13:32.520 --> 0:13:34.920 were like what you want? What do you want to 0:13:34.960 --> 0:13:38.400 do um and then and that's almost a number one 0:13:38.600 --> 0:13:43.560 song though, But it's amazing, like just yeah, having that 0:13:43.840 --> 0:13:46.440 having that trust and that mutual I mean, every time 0:13:46.440 --> 0:13:49.000 we were like skeptical and then we go out on 0:13:49.040 --> 0:13:51.680 a limb to kind of like meet each other in 0:13:51.679 --> 0:13:55.360 the middle, it always brings like an amazing song and 0:13:55.520 --> 0:13:59.560 something really unique. Oh, I mean, Start the Healing is 0:13:59.720 --> 0:14:02.360 is such an amazing track, Such a great way to 0:14:02.520 --> 0:14:04.199 kick off, you know, I was the first single from 0:14:04.200 --> 0:14:06.360 this record, Such a great way to bridge, you know, 0:14:06.400 --> 0:14:11.800 as the bridge from from Nothing to Requiem. The title 0:14:11.840 --> 0:14:14.720 takes on such a meaning just knowing what you know 0:14:14.760 --> 0:14:19.440 what the Nothing had a lot of darkness to it, 0:14:19.720 --> 0:14:21.880 and so starting Heeling I feel like that, you know, 0:14:21.920 --> 0:14:23.720 it takes on a whole new level of meaning when 0:14:23.760 --> 0:14:26.320 you view it in juxtaposition with the last record you 0:14:26.320 --> 0:14:30.760 did exactly. It's it's like, you know, I look at 0:14:30.800 --> 0:14:34.040 Jonathan as like the voice and the leader. Of course 0:14:34.040 --> 0:14:36.880 we're all like, you know, equal, we've created this together, 0:14:36.920 --> 0:14:39.720 but like I don't know, his life kind of parallels 0:14:39.760 --> 0:14:42.280 to these records because it's his lyrics, you know, he 0:14:42.320 --> 0:14:46.680 does the lyrics, and when we came to us he 0:14:46.760 --> 0:14:50.600 was given lyrics to sing by his band that he's 0:14:50.640 --> 0:14:53.200 working with, and we encourage him. Man, right, you're you know, 0:14:53.880 --> 0:14:56.680 you're you're a songwriter, you're a you're a vocalist. You know. 0:14:56.720 --> 0:14:59.320 We encourage him to become an artist, and he's been 0:14:59.320 --> 0:15:02.200 doing it ever sense and uh, yeah, it just feels 0:15:02.200 --> 0:15:05.600 like a natural progression what happened on this record. It's 0:15:05.640 --> 0:15:09.000 it has a lighter feel with the with the song 0:15:09.840 --> 0:15:13.040 um subject matter, and it's still corn it's still intense, 0:15:13.120 --> 0:15:16.800 but it feels like there's more hope and and less hopelessness. 0:15:16.840 --> 0:15:23.080 You know. Last record was just like heavy and very dark. Yeah, 0:15:23.160 --> 0:15:25.040 and that's how he felt, and he was going through 0:15:25.040 --> 0:15:29.280 it with his loss and and you know he's he's 0:15:29.320 --> 0:15:32.960 healed and and he's healing and and and so it's 0:15:33.040 --> 0:15:35.720 it's just it's what's coming off of this record and 0:15:35.840 --> 0:15:39.040 through all of us, I think we've all had some healing. 0:15:39.440 --> 0:15:41.320 You know, we're all going through stuff. Everybody in this 0:15:41.360 --> 0:15:43.720 world is if you're not going through something really heavy, 0:15:44.080 --> 0:15:46.760 then it's coming around the corner. So you know, we're 0:15:46.760 --> 0:15:49.760 all in this together. Yeah, And you know, one of 0:15:49.800 --> 0:15:51.840 the things I wanted to say, well, that's on my 0:15:51.880 --> 0:15:56.960 mind is UM when early records, when you know you 0:15:57.080 --> 0:16:00.840 have ross and and he's teaching us this on then 0:16:00.880 --> 0:16:04.960 in particular, he's teaching all of us how to sort 0:16:04.960 --> 0:16:09.640 of express this anger and this and lay your your 0:16:10.400 --> 0:16:13.440 your heart on your sleeve and that's how you make 0:16:13.480 --> 0:16:16.640 a great record. And when we didn't quite understand that 0:16:16.880 --> 0:16:21.920 UM in the beginning, but uh, seeing him work with 0:16:22.000 --> 0:16:27.840 Jonathan on some of those early albums and him opening 0:16:27.960 --> 0:16:32.440 up and being able to access the that hurt and 0:16:32.480 --> 0:16:37.640 pain throughout the albums, throughout each album, UM has been 0:16:37.760 --> 0:16:41.880 such a strength for our our band UM and it's 0:16:42.000 --> 0:16:46.440 longevity and I really feel like Jonathan helped kick the 0:16:46.520 --> 0:16:50.720 door open for people to talk about mental health. And 0:16:50.760 --> 0:16:52.360 I don't think at the time, I don't think a 0:16:52.360 --> 0:16:55.840 lot of people were talking about that. And a lot 0:16:55.920 --> 0:16:59.080 of people gravitated probably towards the band because they felt 0:16:59.080 --> 0:17:02.840 like they weren't alone and here's somebody that's just laying 0:17:02.880 --> 0:17:07.280 their heart out for everybody and exposing his, uh, his 0:17:07.400 --> 0:17:10.480 inner demons and and you know a lot of people 0:17:10.760 --> 0:17:13.480 was they were able to relate to that. And now 0:17:13.600 --> 0:17:17.600 twenty some years later, UM, you know, I can see 0:17:17.600 --> 0:17:21.879 the progression of you know, people open and willing to 0:17:21.880 --> 0:17:25.879 talk about like when they're not okay, you know, so 0:17:26.040 --> 0:17:29.320 I I definitely feel like he helped pioneer that you 0:17:29.359 --> 0:17:33.760 know early yep, oh absolutely, I mean your music has 0:17:33.800 --> 0:17:36.760 helped a tremendous amount of people. Is there something that 0:17:37.200 --> 0:17:39.800 a fan can say to you where you think, you 0:17:39.840 --> 0:17:42.440 know what, I I know that the hell that went 0:17:42.480 --> 0:17:44.119 into this song and now all hard it was for 0:17:44.160 --> 0:17:46.600 all of us. But you know what, hearing this fans 0:17:46.640 --> 0:17:49.800 say this to me makes it worth it? Or is 0:17:49.840 --> 0:17:52.399 that something that is that a validation you can even 0:17:52.440 --> 0:17:54.800 get externally? Is it just something in you having put 0:17:54.840 --> 0:17:56.520 that song out in the world. And there's no one 0:17:56.600 --> 0:18:01.240 thing that a fan can say, I mean for when 0:18:01.240 --> 0:18:05.040 they if they come up to us and say, you 0:18:05.080 --> 0:18:07.440 know this song or you guys helped save my life. 0:18:07.880 --> 0:18:11.000 You know, we get that more often than not, you 0:18:11.040 --> 0:18:17.560 know lately. Um, It's it's just you know, when we 0:18:17.560 --> 0:18:19.399 were kids, we grew up and we're like, yeah, we 0:18:19.440 --> 0:18:22.080 want to be rock stars and make music and songs 0:18:22.080 --> 0:18:25.240 and tour all over the world. But we didn't know 0:18:25.320 --> 0:18:29.600 we were gonna have this extra golden caveat that you 0:18:29.640 --> 0:18:33.960 know that having Jonathan able to access and and put 0:18:33.960 --> 0:18:37.919 out his his heart that this this was gonna be 0:18:38.280 --> 0:18:41.399 an extra like added icing on this cake, you know, 0:18:41.880 --> 0:18:44.879 to help people. So we're so grateful for that on 0:18:44.960 --> 0:18:50.000 top of everything. Yeah, they're they're just the depth on 0:18:50.040 --> 0:18:52.000 these tracks. It's such an amazing album. One of my 0:18:52.040 --> 0:18:54.720 favorite tracks is Lost in the Grandeur. I love the 0:18:54.800 --> 0:18:57.560 dynamics at play when it speeds up and slows down. 0:18:57.560 --> 0:18:59.359 And I think you said that the riff has been 0:18:59.400 --> 0:19:02.000 around for a while. How did it finally find a 0:19:02.040 --> 0:19:06.159 home on on this record. I don't know, man, I 0:19:06.200 --> 0:19:09.240 think you know, Hed and I. We've been trying to 0:19:09.280 --> 0:19:12.359 get this uh this song in this riff, which is 0:19:12.400 --> 0:19:16.399 the scratchy guitar thing. UM. We've tried it on a 0:19:16.520 --> 0:19:19.199 couple of albums, but we never really knew where to 0:19:19.240 --> 0:19:22.400 take the song from there. And then we found this 0:19:23.320 --> 0:19:28.520 uh this verse idea which totally turns left and then 0:19:28.600 --> 0:19:32.560 builds up into this really melodic chorus. I think the 0:19:32.640 --> 0:19:36.120 chorus came first, and once we once we had that, 0:19:36.720 --> 0:19:40.639 we knew we had found found a home for the 0:19:40.680 --> 0:19:43.879 song and a record for it to be on. UM. 0:19:44.400 --> 0:19:47.160 But oh man, it's it's definitely one of my favorite 0:19:47.160 --> 0:19:51.359 songs on the on the record, you know what this is? 0:19:51.600 --> 0:19:56.200 This is what happened last record. We had it and 0:19:56.960 --> 0:20:01.040 it was good and it it was didn't get kicked out, 0:20:01.080 --> 0:20:05.080 but it just didn't get recorded vocally. And we listened 0:20:05.080 --> 0:20:08.159 to it this record and we were like, what it 0:20:08.240 --> 0:20:11.520 sounds cool. Let's why didn't we use it? It's really cool. 0:20:12.400 --> 0:20:17.280 And then at the last minute we recorded a new chorus. Yes, 0:20:17.960 --> 0:20:21.679 they're like, We're like, the course is why it's it's stumped. 0:20:22.480 --> 0:20:24.760 So we put a new chorus on it and it 0:20:24.840 --> 0:20:29.439 changed everything. What is it like between the two of 0:20:29.440 --> 0:20:31.240 you when you're working on guitar parts? How do you 0:20:31.280 --> 0:20:33.440 divide up the roles between you both? Do you start 0:20:33.680 --> 0:20:35.840 with the rhythm and then embroider it with some melody 0:20:36.000 --> 0:20:40.320 or or is it just different every time? It's pretty 0:20:40.359 --> 0:20:43.719 different every time, which makes it fun and challenge. This 0:20:43.760 --> 0:20:49.000 guy is always challenging me every I can think. I 0:20:49.000 --> 0:20:50.720 can actually I could think all the way back to 0:20:50.880 --> 0:20:55.159 like high school when he's just playing all these killer 0:20:55.240 --> 0:20:57.280 RIfS and I'm like, how do you play that? What 0:20:57.359 --> 0:21:00.040 do you do? How are you doing that? And the 0:21:00.160 --> 0:21:03.639 court is that? And I'm still doing it today even 0:21:03.720 --> 0:21:08.400 with all of this new stuff through the albums. But um, 0:21:08.440 --> 0:21:12.040 I think it comes organically, like he'll write something or 0:21:12.160 --> 0:21:14.920 we would kind of write stuff on the spot when 0:21:14.920 --> 0:21:19.800 we're in the rehearsal or the writing room, and if 0:21:19.840 --> 0:21:23.040 I write something, he'll add to it or he'll help 0:21:23.080 --> 0:21:26.240 make it better, um and make it feel like it's 0:21:26.280 --> 0:21:28.320 actually there's a beginning and the end to the riff. 0:21:28.840 --> 0:21:31.480 And if I'm writing something that or he'll add a 0:21:31.600 --> 0:21:36.280 really killer melody that just brings out the chords and everything. Um. 0:21:36.400 --> 0:21:41.200 So it's just an organic process. Really. I feel like 0:21:41.680 --> 0:21:46.360 lately it's been this guy coming up with stuff. He's 0:21:46.359 --> 0:21:49.400 like a machine. It's I mean, I'll have my moments too, 0:21:49.560 --> 0:21:52.560 of course, but every day I'm like, oh my gosh, 0:21:52.560 --> 0:21:56.280 another one, another one, and uh yeah, it's crazy. It's 0:21:56.280 --> 0:22:00.480 cool to see because every record is different, right man, 0:22:01.000 --> 0:22:04.240 and we just we just want the best song that's it, 0:22:04.320 --> 0:22:07.120 and we don't care who writes it, you know, we don't. 0:22:08.119 --> 0:22:11.960 Sometimes Freaking Chris, the producer, we come in and he's 0:22:12.040 --> 0:22:14.560 bored because we we roll in at two pm and 0:22:14.600 --> 0:22:17.280 he's up at freaking seven. And it was like, hey, 0:22:17.320 --> 0:22:19.480 I was just fendling around with this and then we'll 0:22:19.560 --> 0:22:21.880 change it a little bit, make it, you know, our 0:22:21.960 --> 0:22:24.600 own or whatever. It's just like we have a friend 0:22:24.800 --> 0:22:28.760 that that had a a writing thing on one of 0:22:28.760 --> 0:22:32.440 the songs. You know, we're just we like to collaborate nowadays. 0:22:32.480 --> 0:22:36.479 Before it was you know, it's mostly us obviously, like, 0:22:37.000 --> 0:22:39.440 but we don't mind collaborating once in a while too 0:22:39.480 --> 0:22:43.639 with whether it's a producer or or another writer or whatever. 0:22:44.000 --> 0:22:46.560 You know, a friend of ours that that we've known 0:22:46.640 --> 0:23:00.399 for years. It's fun that way. I think I'm speaking 0:23:00.400 --> 0:23:02.000 of the production. Mean you you use a lot of 0:23:02.040 --> 0:23:05.119 analog techniques when recording this record, of recording right to tape. 0:23:05.119 --> 0:23:07.639 What was that? Like? That's really added? You can you 0:23:07.640 --> 0:23:09.640 can sense just like there's a whole level of warmth 0:23:09.680 --> 0:23:11.720 I feel like in the sound on this thing is 0:23:11.800 --> 0:23:14.400 really apparent. Just I mean, I love all those old 0:23:14.440 --> 0:23:16.680 two vamps and stuff like that. And is that really 0:23:17.119 --> 0:23:19.240 a game changer for you when you're working on this record? 0:23:19.840 --> 0:23:24.280 You know, Hen and I were we are old school 0:23:24.359 --> 0:23:27.800 when it comes to our amps, setups and our guitars 0:23:27.880 --> 0:23:31.240 and the way we like things. And you know, for 0:23:31.480 --> 0:23:34.800 like amp modelers that they have those are great for 0:23:34.920 --> 0:23:37.359