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Speaker 1: Give it a chance, give it a chance, give it

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Speaker 1: a chick good morning, Give it a chance, give it

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Speaker 1: a chance, give it a chance, give it a chance,

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Speaker 1: good morning, Give it a you want to give it

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Speaker 1: a chance, Give it a chance, give it a chance.

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Speaker 2: Just give it. Hi, everybody, So a little behind the

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Speaker 2: scenes is you know? Sometimes you know, I get excited

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Speaker 2: about what song we're going to do, and I get

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Speaker 2: the part where Kevin doesn't know and I tell him

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Speaker 2: what it is. Is it tickles me every time? The

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Speaker 2: tickles help tickles you all.

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Speaker 3: I'm tickled.

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Speaker 2: And I was between a few songs and then when

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Speaker 2: we right before I started recording, I was debating which

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Speaker 2: one and I looked in Kevin's eyes and this one

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Speaker 2: spoke to me. Oh god, okay, and I think it's

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Speaker 2: a fun one for us. And it's a meaty topic.

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Speaker 3: Oh wow, meaty topic.

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Speaker 2: Okay, some kind of mons?

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Speaker 3: Dude?

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Speaker 2: Wait, is that what it is?

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Speaker 3: Yeah, you guess it's some kind of Monster by Metallica.

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Speaker 2: It's Saint Anger. Oh is that not even the Actually

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Speaker 2: I haven't heard it in a while, so is this

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Speaker 2: not even.

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Speaker 3: The There is a song called some kind of Monster

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Speaker 3: The Monster Lives. I feel like he says that at

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Speaker 3: some point, and then there's a song called Saint Anger, which,

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Speaker 3: if I remember correctly, before we even get into it.

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Speaker 3: But this is all around the documentary some kind of monster,

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Speaker 3: which should be required viewing any chances out there who

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Speaker 3: haven't seen it, even if you don't care at all,

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Speaker 3: even if you don't even like music. I don't know

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Speaker 3: why you listen, how you'd get to us if you don't,

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Speaker 3: but it is really really really special and crazy, and

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Speaker 3: if if if it is Saint Anger, I think that

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Speaker 3: the before we listen. I'll just say my favorite thing

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Speaker 3: in the entire documentary is when Lars's dad do you

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Speaker 3: know what I'm about say? Lars plays his dad I

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Speaker 3: think it's this song. Well, we'll see what song we're

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Speaker 3: about to hear. He plays in one of the songs

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Speaker 3: from this record, and Lars's father, who was like a

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Speaker 3: Danish tennis player or something, he was like, so, what

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Speaker 3: would you do? You know, what do you think we

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Speaker 3: should do to make it? Is there something missing? And

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Speaker 3: his dad's like, what I would do is drag it

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Speaker 3: to the trash bin and press delete.

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Speaker 2: Wow, And Lars is like, oh fuck, thanks dad. Yeah,

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Speaker 2: so funny, Yeah.

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Speaker 3: You got a real window into what Lars is about.

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Speaker 3: From that interaction. You were like, Oh, this is why

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Speaker 3: you tried to shut down Napster so hard.

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Speaker 2: He's the real villain of that documentary and he doesn't

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Speaker 2: know it, which is so incredible.

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Speaker 3: I know he was a real villain, like turn of

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Speaker 3: the century music culture villain, for sure. There's so much

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Speaker 3: meat on the bone. We have it with three minutes in.

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Speaker 2: Chance or something like that. But the thing that got

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Speaker 2: me on this one and why I threw it on

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Speaker 2: my list is it's really I'm so excited to hear it.

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Speaker 2: But I'm madly in anger with you.

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Speaker 3: Oh it is Saint Anger. I'm madly in anger.

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Speaker 2: Oh I ca here we go with open minds.

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Speaker 3: Here we go, open minds. All right, here we go.

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Speaker 3: Oh my god.

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Speaker 2: Exhausting.

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Speaker 3: So what I would just say quickly, first thing.

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Speaker 2: Is wait, hold on, I accidentally replayed mine. Okay, sorry,

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Speaker 2: go on.

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Speaker 3: Before I get into anything else, what I would just

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Speaker 3: say is the first thing I sent Casey in the

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Speaker 3: chat when we press play was are we doing all

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Speaker 3: seven minutes and twenty seconds? And we did?

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Speaker 2: I did not. For the record, I played the music

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Speaker 2: video version, which was only five minutes and forty seconds,

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Speaker 2: which was too long.

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Speaker 3: They had the sense for the I love that the

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Speaker 3: radio edit is nearly six minutes long, five minutes forty

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Speaker 3: seconds long. Wow, that is a workout.

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Speaker 2: I want to I want to start with what we've

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Speaker 2: already been saying that it's it's exhausting, but I'm impressed

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Speaker 2: because these guys are not at the top of their game.

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Speaker 2: I mean, they might be financially, but like they're not

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Speaker 2: Spring Chickens at this point. When was this two.

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Speaker 3: Thousand, two thousand and one, two, something like that.

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Speaker 2: I'm guessing a little later. Let's see, I'm going to

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Speaker 2: say a two thousand and three three, So yeah, yeah, yeah,

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Speaker 2: you're right, You're right there.

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Speaker 3: They've been a band for twenty years at this point,

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Speaker 3: and they're twelve years removed from their commercial apex at

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Speaker 3: this point, ten or twelve.

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Speaker 2: Years removed, but I think still very mainstream. Like this

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Speaker 2: album was platinum or diamond, I don't know, like it

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Speaker 2: would did very well.

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Speaker 3: By this point. They're an institution, Like I mean, I

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Speaker 3: think even poorly received and poorly commercially performing Metallica record

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Speaker 3: would still have a sold out arena tour attached to it.

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Speaker 3: They're like as big as a band playing guitar could be.

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Speaker 2: This point, So my point is like, this is an

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Speaker 2: impressive tune to pull off in just like from a

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Speaker 2: cardio level, especially for Lars, who I think between us

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Speaker 2: is probably he probably did a lot of takes to

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Speaker 2: get this performance. But it's like, I don't know how

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Speaker 2: often he does these like blast beats on their tunes,

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Speaker 2: Like he's not really known for it, and it's exhausting,

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Speaker 2: and it's a lot, and it's through the whole song,

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Speaker 2: and and so that would be that's both a chancey

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Speaker 2: and an anti chancy, and that it's I think this

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Speaker 2: song really drags, even though it's constant, Yeah, you know

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Speaker 2: this force of like, but it really in some ways

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Speaker 2: I feel like it's almost sluggish, even though I definitely

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Speaker 2: think it's all quantized, which is like.

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Speaker 3: Within an inch of its life. I think what's interesting

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Speaker 3: about it is if it was a third of the

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Speaker 3: length the song basically repeats itself three times in the

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Speaker 3: version I just listened to you, and if it was

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Speaker 3: like a third as long with all of the parts,

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Speaker 3: because there's like eleven parts, yeah, which I like.

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Speaker 2: I give that. I give that some some pause.

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Speaker 3: If it was a third as long, it would be

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Speaker 3: ten times more effective. The the baseline chancey is this

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Speaker 3: Metallica is in some ways like one of the most

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Speaker 3: punk rock I don't mean that in their metal in

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Speaker 3: their name, but they're one of the most punk rock

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Speaker 3: success stories sort of that that that exists, particularly in

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Speaker 3: the time they came to popularity. Like Metallica came out

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Speaker 3: and they were like an underground I think they came

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Speaker 3: from the Bay Area. I think that was where they

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Speaker 3: started playing, but like they were a hard touring no MTV,

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Speaker 3: no radio, and like for the first eight years of

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Speaker 3: the band, through all those records like Kill Them All,

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Speaker 3: Ride the Lightning and Justice for All Master Puppets, all

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Speaker 3: that stuff, it's like they really didn't move their sound

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Speaker 3: towards what was happening in like the Sunset Strip or

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Speaker 3: like they they definitely didn't like towards Motley Crue and Poison.

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Speaker 3: They actually went like the opposite direction and in cut

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Speaker 3: and in some ways like they defined what we even

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Speaker 3: think classic metal is. And so to me it's like

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Speaker 3: they're sort of regardless there are which is not the

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Speaker 3: point of this song that the actually it sort of

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Speaker 3: will become the point of the song. As our conversation evolves,

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Speaker 3: they do have some ridiculous moments in their history. Now

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Speaker 3: the arc of any band that's around the song probably will,

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Speaker 3: but they have some moments like the whole Reload thing

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Speaker 3: where they basically like try to become like a Lallapalooza

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Speaker 3: band and they cut their hair and they're wearing eyeliner.

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Speaker 3: There was like Load and Reload was like and now

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Speaker 3: is in like the mid nineties, bridging like grunge to

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Speaker 3: what becomes new metal. What's interesting to me, I don't

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Speaker 3: want to start in like six different directions. I'll come

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Speaker 3: back to this, but what I think all that stuff

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Speaker 3: when I was growing up, Like I remember seeing the

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Speaker 3: video for one their first music video, black and white,

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Speaker 3: like that them plane and like an airplane hangar in

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Speaker 3: the footage of Johnny gets Your Gun the guy who's

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Speaker 3: lost all his limbs and an explosion in a war,

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Speaker 3: and I was like, I remember, I don't I hope

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Speaker 3: he's not embarrassed that I share this. But my younger

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Speaker 3: brother Dan, we were kids, we would watch MTV and

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Speaker 3: we would also be allowed to like order one video

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Speaker 3: each sometimes from the box, which was this service you

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Speaker 3: could like order it was like three dollars for three videos,

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Speaker 3: and you could like request whatever videos you wanted to watch.

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Speaker 3: It was kind of a cool user interface thing, pre

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Speaker 3: internet thing on a local cable in Brooklyn. And I

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Speaker 3: remember watching the video for one and we were like scared,

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Speaker 3: Like we were both authentically scared. It was like watching

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Speaker 3: like a Freddy Krueger movie or something. We were like

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Speaker 3: really scared, Like he was like upset, you know. So

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Speaker 3: that the reason I bring those things up is to say, like,

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Speaker 3: Dan's a fucking coward. No, the reason we stuff is

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Speaker 3: to say they were like kind of in the context

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Speaker 3: of popular culture and you know, multinational record industry and

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Speaker 3: the rest of it, pretty punk. Pretty punk. They were

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Speaker 3: like dudes wearing like black jeans, black T shirts just

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Speaker 3: getting up and like playing this blistering music that was

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Speaker 3: about like death and nightmares and whatever else.

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Speaker 2: They crossed that over. That was probably a movement, and

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Speaker 2: they they are the face that crossed that into mainstream

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Speaker 2: without question.

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Speaker 3: And they also managed to be like the they are

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Speaker 3: also a lot of that music is pretty fucking great,

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Speaker 3: Like it's pretty bracing. I'm not like the most scholarly

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Speaker 3: or I wouldn't they claim to being the biggest Metallica fan.

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Speaker 3: There are definitely people in my life that are way,

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Speaker 3: way way more with that, but I definitely know like

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Speaker 3: it's kind of undeniable. And then even with the Black album,

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Speaker 3: when they do do the MTV thing more robustly and

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Speaker 3: it becomes a diamond selling giant stadium, even that, it's

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Speaker 3: just like they took the formula and like.

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Speaker 2: Slowed it down.

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Speaker 3: It's still like heavy, brooding, intense, and it just they

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Speaker 3: kind of like managed to turn into their own weird

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Speaker 3: version of pop music. And that's all of that is

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Speaker 3: the baseline for which Metallica always gets a chancey because

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Speaker 3: they sort of like they kind of semi invented a thing,

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Speaker 3: and at worst they crossed over a thing sort of

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Speaker 3: on their own terms that was in the context in

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Speaker 3: which it existed profoundly not mainstream. That being said, and

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Speaker 3: I'll connect that to the song and then I'll turn

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Speaker 3: it over because I've been talking too long. This was

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Speaker 3: beautiful about cook Chef cook about this song. Actually, why

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Speaker 3: did just briefly say something? We opened about Lingo and generations.

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Speaker 3: I'm forty four. We opened for the front Bottoms on

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Speaker 3: tour last year, most recently a short tour out to

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Speaker 3: the West Coast, and after one of the shows, I

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Speaker 3: would go to the merch table and sell merchant and

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Speaker 3: hang out. And there was these kids at these shows,

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Speaker 3: like fifteen year old kids. And this kid came up

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Speaker 3: to me in Kansas City and was like when you

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Speaker 3: came out, I was like, who's this old dad? But

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Speaker 3: then you played and I was like, damn, he's eating

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Speaker 3: right now. That dude just ate and I was like,

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Speaker 3: I didn't really eat like I was like usually after

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Speaker 3: the show because I don't want to get like sick

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Speaker 3: er stitches in my tomue tum anyway. So the the

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Speaker 3: But that's just to say nothing about the song. The

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Speaker 3: thing about the song that's kind of cool is when

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Speaker 3: it starts, you're reminded of everything we just talked about.

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Speaker 3: There's like different there's parts of this song where you're like,

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Speaker 3: all right, Metallic of rules, this is just like blistering

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Speaker 3: stampede of like crazy, you know, muted, like he's like

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Speaker 3: choking the symbol, and yeah, riff riff after riff after

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Speaker 3: riff after riff, You're like, oh yeah, right, like nuclear assault.

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Speaker 3: Metallica is all about like just like the best ship

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Speaker 3: by them is like scorched Earth.

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Speaker 2: I agree, And in fact Headfeel's voice is like the

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Speaker 2: same as it was in a lot of ways. It's

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Speaker 2: just in the past. They soaked all of this in

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Speaker 2: reverb and this is dry, Like his vocal is super dry,

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Speaker 2: and I think they're going for that and.

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Speaker 3: We'll get to this, We'll get to the fish its

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Speaker 3: own section.

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Speaker 2: Yeah, but finish your ear yet. That's it.

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Speaker 3: That's it. It's just it is. It has all the

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Speaker 3: hallmarks of that. Maybe we could transition into we can

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Speaker 3: waffle back and forth. There's no rules between chance and

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Speaker 3: anti chance. You are also aware from the very beginning,

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Speaker 3: whether you are even in touch with this awareness or not.

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Speaker 3: I bet somebody who knows nothing about anything we're talking

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Speaker 3: about would hear this and there would be a moment

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Speaker 3: where the beg kind of sounds crazy, and not just

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Speaker 3: like the riffage, I mean like the sound you're like,

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Speaker 3: it kind of sounds crazy, and the snare drum sound is,

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Speaker 3: let's get into it, canonically catastrophically terrible. It's like something

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Speaker 3: that if you were in like a Reddit forum about Metallica,

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Speaker 3: I promise you there is a seven hundred page thread

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Speaker 3: about the snare drum sound on this record and this song.

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Speaker 3: It's the thing people talk about who are like aware

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Speaker 3: of their band. What the fuck the choice was to

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Speaker 3: make that the snare drum sound for this whole record

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Speaker 3: is so crazy to me. It sounds like it's so

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Speaker 3: abrasive and such a like distancing agent from the music.

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Speaker 3: Every time he hits it, I'm like, ugh.

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Speaker 2: My speculation is that I think Lars is maybe King Herb,

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Speaker 2: and he's a King Herb, and I think he really

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Speaker 2: needs to stand out and like hear his voice, like

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Speaker 2: even in that documentary, he's always like sitting on a

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Speaker 2: table with like crossed legs, like he's always doing something extra,

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Speaker 2: as the kids say, And this is that this is

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Speaker 2: his embodiment of like how can I stay? How can

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Speaker 2: I like put myself into this? And it's always to

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Speaker 2: the detriment in my opinion of like the music, like

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Speaker 2: or or to the environment or in the documentary you

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Speaker 2: see like in the environment, or even like the napster thing.

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Speaker 2: The napster thing is crazy because he's like it's the

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Speaker 2: thing that gets brought up. He says, like he's like

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Speaker 2: every time that my name comes up. It's the Napster

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Speaker 2: thing even to this day, which is insane amazing, but

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Speaker 2: it's it's that's the same thing. It's like he went

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Speaker 2: all in. He made a big swing on the snare

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Speaker 2: or on Napster or in these arguments he made.

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Speaker 3: Hating James Hetfield apparently, like seemingly in that documentary, you're

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Speaker 3: just like you really, yeah, it's he's he's rough. He

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Speaker 3: seems rough.

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Speaker 2: He's a barnacle. That's like on this band. That's like,

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Speaker 2: you know, it's like is it part of the ship

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Speaker 2: if it's been there forever? But it's but yeah, the

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Speaker 2: Napster thing was great. Remember how Sean Parker wore that

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Speaker 2: Metallica hat when he like came out at the VMA's.

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Speaker 3: I do that's like critical? Uh you know gen X

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Speaker 3: millennial CUSP content was like, yeah, I was. I was.

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Speaker 3: You were probably like two you were.

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Speaker 2: I was watching it, watching it. I think I was

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Speaker 2: closer videos was watching it going getting idea.

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Speaker 3: Let me descrate this.

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Speaker 2: Head spinning around when you're talking about music videos. I

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Speaker 2: was definitely thinking that one. That one was scary, Like I.

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Speaker 3: Whole thing was. I was a little older by then.

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Speaker 3: I actually feel like if I was to watch some

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Speaker 3: of there's apparently like unedited or different edits of that

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Speaker 3: nine inch nowl stuff that's intentionally way more like stuff

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Speaker 3: that would have never been showed on TV as like

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Speaker 3: flirting with like kind of like approximating like snuff films

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Speaker 3: like esque things, and you're like there's something about that

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Speaker 3: that's so funny that I'm like, I'm all, I'm like, wow,

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Speaker 3: that's you know, I really get it, like pushing and

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Speaker 3: the outer limits of a particular kind of psychology. And

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Speaker 3: there's also a part of me it's like, what the.

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Speaker 2: Fuck are you doing? That's gross?

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Speaker 3: Like yeah, yeah, like okay, that's cool. Like we bought

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Speaker 3: Charles Manson's house and that's where we made the record.

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Speaker 3: I'm like, all right, cool.

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Speaker 2: You know I remember people being like gg Allen like

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Speaker 2: shit on stage and you're like why, like is he okay?

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Speaker 3: Dude? You just reminded me of and no. The answer

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Speaker 3: to that was no, he was not okay. But the

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Speaker 3: something with gg Allen that was like I remember someone

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Speaker 3: showing me something like a late fucked up night at

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Speaker 3: someone's apartment and they were like, oh, I got this

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Speaker 3: VHS tape of Gglen doing this like, and I was like, okay,

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Speaker 3: I was like whatever I was, whatever I was engaging

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Speaker 3: with at that time chemically, and I was like kind

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Speaker 3: of like a hostage, like sitting on this person's couch

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Speaker 3: and they put on some shit that I was like,

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Speaker 3: I don't think I can still remember it today twenty

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Speaker 3: three years later, but I was like I never needed

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Speaker 3: to see that, and I never need to see it again,

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Speaker 3: and certainly I don't need it to be on like

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Speaker 3: a TRL or whatever. The same anger thing, the snare thing,

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Speaker 3: the Lars thing, the needing to stand out there. I mean, look,

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Speaker 3: the thing is they probably it's the ambition fuel whatever.

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Speaker 3: Lars is clearly like they were a kind of anti

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Speaker 3: rock star, right because they were like playing these huge places,

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Speaker 3: but they weren't like in the context in which they exist.

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Speaker 3: Now that gets changed, we'll get there in a minute,

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Speaker 3: but in the time in which they're coming, like, you know,

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Speaker 3: their first platinum record, I think the first platinum one

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Speaker 3: was Injustice for All and they get nominated for a

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Speaker 3: Grammy for that and they play at the Grammys and

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Speaker 3: it's a moment like it's like they play one at

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Speaker 3: the Grammys in like nineteen eighty nine, and people are

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Speaker 3: like whether I like that or not? That was racing

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Speaker 3: and like now it's the famous thing where they lose

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Speaker 3: the Metal Grammy to Jethrow Toll.

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Speaker 2: Oh, I don't even remember this.

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Speaker 3: It's a big, like funny thing because it was like

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Speaker 3: Jethrow Toll's like they have a flute, you know. It's

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Speaker 3: like not a metal band at all. And they were

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Speaker 3: like a band from twenty years whatever. It was a

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Speaker 3: classic Grammys thing where they rewards something from twenty years earlier,

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Speaker 3: where it's like Denzel gets it for training day because

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Speaker 3: he should have gotten it from Malcolm X, but they

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Speaker 3: gave it to somebody else, you know whatever. Anyway, gotcha.

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Speaker 3: But like there's this they really were like they weren't

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Speaker 3: Axel Rose, they weren't Michael Jackson, they weren't like, you know,

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Speaker 3: Cindy Lauper. They weren't Debbie gibbson whatever was like happening.

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Speaker 3: But they weren't like also like these sons of strip

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Speaker 3: bands with the teased hair and whatever. They were something

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Speaker 3: very different to that. They also couldn't really call them

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Speaker 3: a punk band because no punk bands were operating at

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Speaker 3: that level of commercialism, and because a punk band would

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Speaker 3: have made the same to anger one third as long.

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Speaker 3: They would have thrashed through all of those parts and

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Speaker 3: they would have been like songs over after two minutes.

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Speaker 4: Right.

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Speaker 3: But you know metal's thing, one of its things is

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Speaker 3: it's like excesses arrangement wise or whatever, epic long yeah, yeah,

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Speaker 3: and it starts with what you started with. It's also

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Speaker 3: meant to be Maybe this is another way in which

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Speaker 3: they're meant to stand out, or he's meant to stand out.

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Speaker 3: It's supposed to be something you're like, Wow, you marvel

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Speaker 3: at the dexterity of how Lars can be playing blast beats.

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Speaker 3: For the other thing is every drummer I know, for

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Speaker 3: what it's worth is like Lars sucks.

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Speaker 2: Yes, it's really crazy. Like I watch sometimes like these

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Speaker 2: like memes online of things, and there's a guy that

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Speaker 2: I really do like. He adds Lars esque drums to

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Speaker 2: like other songs, and I've seen that he's so good

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Speaker 2: at it, and it really feels like Lars and he

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Speaker 2: makes faces like Lars. Yes, it's like of like TikTok

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Speaker 2: e Instagram videos. It's a section I really like.

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Speaker 3: It's really so clearly done. The research that's what's great

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Speaker 3: about it?

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Speaker 2: He must be a fan actually even though he's making

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Speaker 2: fun of it, but like he to listen to it

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Speaker 2: so much, or actually they're a really interesting band that

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Speaker 2: I think people who love Metallica can hate Lars and

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Speaker 2: still love Metallica.

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Speaker 3: I think there's people who, in fact, you're right, and

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Speaker 3: I think that there's people who it's like Neil Young

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Speaker 3: or something. There are people who like Neil Young's their guy,

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Speaker 3: but one of the baseline things is that they're like,

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Speaker 3: I feel like I'm saying bassline a lot in this episode.

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Speaker 3: One of the fundamental of being a serious Neil Young

386
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Speaker 3: fan is that you have to concede that there is

387
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Speaker 3: just a bunch of absolute garbage in there as well.

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Speaker 3: The heights are arguably unmatched in some way in in

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Speaker 3: his genre. And you hear a Neil Young song and

390
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Speaker 3: inside of three seconds you know it's a Neil Young song.

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Speaker 3: The way he plays the guitar, the way he sings it.

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Speaker 3: It's But also there's like whole records that you're like,

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Speaker 3: I can't fuck with that at all. And I think

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Speaker 3: there are Metallica fans who feel that way about various

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Speaker 3: segments of Metallica's recorded output. But I think is also

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Speaker 3: interesting about this song though, is that it reflects. It's

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Speaker 3: one of those moments, which I think we've talked about

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Speaker 3: at some point before. I feel like we have one

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Speaker 3: of those moments where a genre defining band, in the

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Speaker 3: fitful exercise of trying to maintain its relevance and stature,

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Speaker 3: starts to reflect the things it influenced to some degree.

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Speaker 2: Oooh okay, oh yeah, let me get that straight. Yeah,

403
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Speaker 2: So you're saying that, like, this band that influence all

404
00:21:05,880 --> 00:21:09,959
Speaker 2: these bands is now referencing bands that it influenced.

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Speaker 3: Exactly and what so specifically for me in this song

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Speaker 3: the choices you talked about about the snare sound and

407
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Speaker 3: the totally dry vocal thing that's actually I think meant

408
00:21:21,440 --> 00:21:23,399
Speaker 3: to be a kind of There's two things that are

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Speaker 3: happening at the same time. One is, and I'll finish

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Speaker 3: the thing about what I just said, it's it's related though.

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Speaker 3: One is they're mistaking I think this one subjective what

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Speaker 3: they're making. A mistake that is built around this is

413
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Speaker 3: going to be a return to form. We're going back

414
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Speaker 3: to like our roots. It's like they make this mistake

415
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Speaker 3: and assumption that like in making these certain sonic choices,

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Speaker 3: they're like going back to their roots. Like it's like

417
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Speaker 3: we're gonna go and it's gonna be no reverb on anything.

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Speaker 3: It's just going to be like super serrated and nasty,

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Speaker 3: and we're in fact we're going to use this like

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Speaker 3: crazy pinging snare sound. It's just gonna be so abrasive

421
00:22:00,880 --> 00:22:03,679
Speaker 3: and and then so doing. Actually it's just like doesn't

422
00:22:03,720 --> 00:22:06,560
Speaker 3: really sound like them or like anything you really want

423
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Speaker 3: to hear. Actually, and for all of James Hetfield's strengths

424
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Speaker 3: as a vocalist, I don't know that you really need

425
00:22:12,440 --> 00:22:17,959
Speaker 3: his voice laid that there. It's not like it's like,

426
00:22:18,160 --> 00:22:22,040
Speaker 3: I don't know, such a pure instrument that you're like, oh,

427
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Speaker 3: it's like hearing Sam Cook without any anything, any adornment,

428
00:22:26,200 --> 00:22:29,920
Speaker 3: or Marvin Gay or something. But I think that what

429
00:22:30,000 --> 00:22:33,439
Speaker 3: the moments where you hear the influence of the things

430
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Speaker 3: they helped influence the verses that sane, anger, reck whatever.

431
00:22:40,359 --> 00:22:46,320
Speaker 3: It's like clean tone, arpeggiation, halftime that's straight up like

432
00:22:46,880 --> 00:22:51,680
Speaker 3: heart shaped box lithium that kind of like that kind

433
00:22:51,760 --> 00:22:56,200
Speaker 3: of like grunge, alternative rock, slow it down, clean it up.

434
00:22:56,560 --> 00:22:59,160
Speaker 3: Even the vocal melody and the way it's like repeat.

435
00:22:59,200 --> 00:23:02,560
Speaker 3: It's this kind of very repetitive and then when they

436
00:23:02,560 --> 00:23:06,239
Speaker 3: step on the pedal, things get loud. Hallmark of all

437
00:23:06,280 --> 00:23:09,280
Speaker 3: that loud soft loud thing. They go new metal with

438
00:23:09,320 --> 00:23:09,880
Speaker 3: it with the person.

439
00:23:10,240 --> 00:23:10,800
Speaker 2: You push it.

440
00:23:10,760 --> 00:23:13,000
Speaker 3: Out, you push it out. It's like some system of

441
00:23:13,000 --> 00:23:16,159
Speaker 3: a down limb biscuit thing. That to me is maybe

442
00:23:16,280 --> 00:23:19,440
Speaker 3: my biggest issue with it. It doesn't feel like motel.

443
00:23:21,000 --> 00:23:24,040
Speaker 3: No chance there, no yeah, perfect, no chance.

444
00:23:23,760 --> 00:23:28,840
Speaker 2: There t shirts made, no chance there, no chance there.

445
00:23:29,160 --> 00:23:29,719
Speaker 4: Smush it out.

446
00:23:29,880 --> 00:23:34,840
Speaker 2: You smush it out, it says on the back. Also

447
00:23:34,920 --> 00:23:40,200
Speaker 2: you to smush it out. Yeah, blush it out.

448
00:23:40,440 --> 00:23:42,960
Speaker 3: But I rush it out and slush it out.

449
00:23:43,640 --> 00:23:46,280
Speaker 2: But no, that is so true. That is so new metal,

450
00:23:46,320 --> 00:23:49,120
Speaker 2: and it doesn't fit them at all. But it's interesting.

451
00:23:49,119 --> 00:23:51,680
Speaker 2: I watched the video. They have the new bassist who

452
00:23:51,680 --> 00:23:54,720
Speaker 2: feels very new metal. That guy I forget his.

453
00:23:54,960 --> 00:23:58,920
Speaker 3: Robert Trujillo or something. Yeah, yeah, he came from suicidal tendencies.

454
00:23:59,040 --> 00:24:00,959
Speaker 3: I think, yes, that's right, that's right.

455
00:24:01,040 --> 00:24:04,640
Speaker 2: Yeah, But he feels the most new metal of the band,

456
00:24:04,680 --> 00:24:05,480
Speaker 2: and they do that.

457
00:24:05,440 --> 00:24:07,960
Speaker 3: Weird crab walk thing. Yeah, he like plays the bass

458
00:24:08,000 --> 00:24:09,520
Speaker 3: at his feet and he's like doing it.

459
00:24:09,600 --> 00:24:14,760
Speaker 2: Yay, especially to go from Jason Newstead right from him.

460
00:24:14,760 --> 00:24:19,040
Speaker 3: For Jason Newst, I do seem like a nice guy. Basically,

461
00:24:19,080 --> 00:24:23,119
Speaker 3: they told they like mixed the bass out of Injustice

462
00:24:23,160 --> 00:24:25,720
Speaker 3: for All, the first album he plays bass on after

463
00:24:25,720 --> 00:24:28,120
Speaker 3: Cliff Burton dies, and it's to this day it's still

464
00:24:28,160 --> 00:24:30,280
Speaker 3: this thing where he's like, I can't really hear anything

465
00:24:30,320 --> 00:24:33,080
Speaker 3: I'm doing on that record. And that record also sounds

466
00:24:33,080 --> 00:24:37,439
Speaker 3: crazy because it's all metal riffs, thrash, you drumming, and

467
00:24:37,480 --> 00:24:40,159
Speaker 3: you're like, is there bass guitar on any of this?

468
00:24:40,320 --> 00:24:42,040
Speaker 3: Like what is this anyway? Yeah?

469
00:24:42,160 --> 00:24:44,960
Speaker 2: Wild? So yeah, that's so that You're right, that is

470
00:24:44,960 --> 00:24:46,840
Speaker 2: so new metal. I think there's all There's like some

471
00:24:46,880 --> 00:24:50,679
Speaker 2: other moments too that I think that that tone that

472
00:24:50,720 --> 00:24:53,480
Speaker 2: you're mentioning that is also sort of Nirvana is also

473
00:24:53,600 --> 00:24:57,960
Speaker 2: like I kept thinking, like pod or like these other

474
00:24:58,119 --> 00:25:01,880
Speaker 2: bands really like have this, like I have this sort

475
00:25:01,920 --> 00:25:04,920
Speaker 2: of dryness to the even even I even wrote down

476
00:25:05,000 --> 00:25:08,719
Speaker 2: Rage against the Machine, especially like their later stuff like

477
00:25:08,840 --> 00:25:12,080
Speaker 2: their their their records that came out early two thousands,

478
00:25:12,119 --> 00:25:15,640
Speaker 2: like I think that, and I actually I think that's

479
00:25:15,680 --> 00:25:20,000
Speaker 2: more of an engineer and producer choice. I think it's

480
00:25:20,040 --> 00:25:23,160
Speaker 2: more of his choice than you know, to keep it

481
00:25:23,240 --> 00:25:25,840
Speaker 2: so that w and I get it, because when you're

482
00:25:25,920 --> 00:25:29,080
Speaker 2: listening to the radio and it's corn and it's limp

483
00:25:29,119 --> 00:25:33,119
Speaker 2: biscuit to drop in the quintessential old school metallica sound

484
00:25:33,200 --> 00:25:35,359
Speaker 2: will feel like a throwback, whereas you want people to

485
00:25:35,400 --> 00:25:37,680
Speaker 2: know this is new and we wanted to it, want

486
00:25:38,000 --> 00:25:40,920
Speaker 2: it should feel. I can understand him thinking it should feel,

487
00:25:41,359 --> 00:25:44,480
Speaker 2: you know, contemporary, and I can understand why you would

488
00:25:44,520 --> 00:25:47,680
Speaker 2: make that choice. But within that I think you tweak.

489
00:25:47,720 --> 00:25:49,080
Speaker 2: I think you put a little bit of reverb on

490
00:25:49,119 --> 00:25:52,239
Speaker 2: the vocals something. Yeah, I think the whole thing that

491
00:25:52,320 --> 00:25:55,080
Speaker 2: you're you're touching on there is actually like a really

492
00:25:55,560 --> 00:26:01,000
Speaker 2: fertile subject in general about entertainment industry period, and.

493
00:26:00,840 --> 00:26:02,960
Speaker 3: You see it. Maybe you see it in music most clearly.

494
00:26:03,000 --> 00:26:06,399
Speaker 3: It's slightly different than like maybe the arc for certain

495
00:26:06,560 --> 00:26:10,960
Speaker 3: actors or like people who make things in other very

496
00:26:11,800 --> 00:26:16,639
Speaker 3: highly visible entertainment mediums and music. The zeitgeist moves so

497
00:26:16,800 --> 00:26:23,520
Speaker 3: fast that when someone is perceptibly moving after it, like

498
00:26:23,680 --> 00:26:27,119
Speaker 3: trying to stay in relevance, and they're like, you know,

499
00:26:27,240 --> 00:26:31,760
Speaker 3: kind of aging out of that, it's really like you're like, oh,

500
00:26:31,840 --> 00:26:34,640
Speaker 3: I see you, I see you. You're trying to like

501
00:26:35,240 --> 00:26:37,159
Speaker 3: it's like the Steve b Shemy meme, like of the

502
00:26:37,720 --> 00:26:40,720
Speaker 3: Hello fellow kids, and he's like, you know, Steve BUCHEMI

503
00:26:40,880 --> 00:26:43,960
Speaker 3: and like backwards hat and whatever. Like it feels like

504
00:26:45,480 --> 00:26:49,680
Speaker 3: those self conscious choices to try and keep up with

505
00:26:50,400 --> 00:26:54,240
Speaker 3: the like whatever is usually to diminishing returns.

506
00:26:54,400 --> 00:26:57,520
Speaker 2: My question to that is, do you think that still

507
00:26:57,560 --> 00:26:59,720
Speaker 2: exists as much as it had? Because with that, with

508
00:26:59,840 --> 00:27:02,880
Speaker 2: you know, without like what the radio was, especially at

509
00:27:02,880 --> 00:27:05,840
Speaker 2: this time and throughout the radio on to turn the

510
00:27:06,000 --> 00:27:11,119
Speaker 2: radio up, that's my favorite Metallica song. When this was

511
00:27:11,160 --> 00:27:13,080
Speaker 2: the the main thing was to get on the radio

512
00:27:13,160 --> 00:27:15,240
Speaker 2: and to fit in with the radio. People were trying

513
00:27:15,280 --> 00:27:17,119
Speaker 2: to fit in with the radio. But now the radio

514
00:27:17,160 --> 00:27:20,080
Speaker 2: is basically you know, it's it's it's a lot of

515
00:27:20,119 --> 00:27:21,760
Speaker 2: talk now and in a good way. Like I think

516
00:27:21,800 --> 00:27:26,000
Speaker 2: it's it's less of it's less of a of like

517
00:27:26,119 --> 00:27:29,480
Speaker 2: I mean, I'm sure it's still cataploat ploats.

518
00:27:29,720 --> 00:27:32,360
Speaker 3: I love that Cataploads is a good band name.

519
00:27:32,400 --> 00:27:35,840
Speaker 2: Well it's cataploats. I'm sure it still pushes these bands

520
00:27:36,000 --> 00:27:38,040
Speaker 2: forward in a you know, in a way it's still

521
00:27:38,080 --> 00:27:41,640
Speaker 2: it's still there. But yeah, do you think that there's

522
00:27:41,640 --> 00:27:43,359
Speaker 2: this modern thing of like I got to get on

523
00:27:43,359 --> 00:27:44,040
Speaker 2: that playlist?

524
00:27:44,680 --> 00:27:47,440
Speaker 3: Yes, I know that that is true. Talk to me

525
00:27:47,480 --> 00:27:53,800
Speaker 3: about I can't give you clearly, I can't give you

526
00:27:54,520 --> 00:27:58,639
Speaker 3: l Ron Hubbard. I clearly can't make can't give you

527
00:27:58,680 --> 00:28:02,159
Speaker 3: inside information with respect, so like it having a propulsive

528
00:28:02,240 --> 00:28:06,440
Speaker 3: cataplosive success for my commercial career. But I can tell

529
00:28:06,480 --> 00:28:12,480
Speaker 3: you the game has absolutely largely become like upon release

530
00:28:12,520 --> 00:28:17,439
Speaker 3: of single one from forthcoming album or whatever collection of songs,

531
00:28:17,480 --> 00:28:21,600
Speaker 3: EP whatever, like if you are of any sort of

532
00:28:22,240 --> 00:28:24,199
Speaker 3: I mean, and I'm actually gonna go like like like

533
00:28:24,320 --> 00:28:26,879
Speaker 3: people my wrung or even like a little lower in

534
00:28:26,920 --> 00:28:30,960
Speaker 3: the food chain. It is really about like what playlists

535
00:28:30,960 --> 00:28:31,920
Speaker 3: did you get?

536
00:28:32,280 --> 00:28:36,600
Speaker 2: And like where I mean, and you know, being used

537
00:28:36,640 --> 00:28:39,280
Speaker 2: on TikTok through like in the background of us, you know,

538
00:28:39,320 --> 00:28:41,280
Speaker 2: like that trendy that listen.

539
00:28:41,360 --> 00:28:45,320
Speaker 3: If any of you fucking chancers are like somehow you know,

540
00:28:45,360 --> 00:28:51,280
Speaker 3: either yourself or adjacent to a uh influenza influence influenza,

541
00:28:51,760 --> 00:28:55,680
Speaker 3: please put any song of either of ours on there,

542
00:28:55,680 --> 00:28:58,959
Speaker 3: because it would be nice to make that cool bill.

543
00:29:00,360 --> 00:29:03,160
Speaker 3: But yeah, I feel like uh a billion or just

544
00:29:03,200 --> 00:29:06,400
Speaker 3: like one bill, like it's one bill is one bill? Yeah,

545
00:29:06,440 --> 00:29:08,640
Speaker 3: one cool bill is one bill. I saw a Snoop

546
00:29:08,680 --> 00:29:10,760
Speaker 3: Dogg on this subject. I saw did you see this?

547
00:29:10,800 --> 00:29:12,960
Speaker 3: It was pretty funny. He was like, and that guy,

548
00:29:13,040 --> 00:29:16,240
Speaker 3: he was like, can someone please, someone must ask him

549
00:29:16,240 --> 00:29:18,000
Speaker 3: a question at some press conference thing he was doing.

550
00:29:18,000 --> 00:29:20,120
Speaker 3: They're like, you know about Spotify, And he was like,

551
00:29:20,440 --> 00:29:22,959
Speaker 3: can someone please explain to me how the fuck we

552
00:29:23,000 --> 00:29:26,080
Speaker 3: make money off of this? Like I had seventy two

553
00:29:26,400 --> 00:29:29,320
Speaker 3: million streams of whatever last year and I made forty

554
00:29:29,360 --> 00:29:32,800
Speaker 3: six thousand dollars. Like, if I'm doing that, what about

555
00:29:32,840 --> 00:29:35,560
Speaker 3: these kids that are playing like two hundred thousand streams? Like,

556
00:29:35,960 --> 00:29:38,160
Speaker 3: someone can explain to me how you don't get a

557
00:29:38,240 --> 00:29:42,120
Speaker 3: million dollars off a billion streams or whatever. I'm I

558
00:29:42,120 --> 00:29:43,600
Speaker 3: would love to know. And he's like at the end,

559
00:29:43,640 --> 00:29:45,000
Speaker 3: he's like, I mean, I don't know. I don't even

560
00:29:45,080 --> 00:29:47,120
Speaker 3: know who runs this shit. Are you in the room

561
00:29:47,240 --> 00:29:49,720
Speaker 3: right now? If someone who runs Spotify is in the

562
00:29:49,800 --> 00:29:53,160
Speaker 3: room right now? But yeah, clearly no. I was talking

563
00:29:53,160 --> 00:29:56,480
Speaker 3: about a single bill. If you can get us a single.

564
00:29:56,200 --> 00:30:07,160
Speaker 4: Single bill, okay.

565
00:30:09,800 --> 00:30:13,440
Speaker 3: I also think radio, like everything else, has become a

566
00:30:13,520 --> 00:30:16,600
Speaker 3: much more splintered game. And I think it does still exist,

567
00:30:16,680 --> 00:30:18,680
Speaker 3: and it does still but I think the what's it

568
00:30:18,720 --> 00:30:21,760
Speaker 3: called the platforms and the oh there's a word I'm

569
00:30:21,760 --> 00:30:26,240
Speaker 3: looking for for like what they're programming, what style, what

570
00:30:26,360 --> 00:30:30,120
Speaker 3: genre or whatever, what each of these stations represents. I

571
00:30:30,160 --> 00:30:32,200
Speaker 3: do think terrestrial radio is like in a lot of

572
00:30:32,200 --> 00:30:35,240
Speaker 3: ways diminished. I think for people like me, even for

573
00:30:35,320 --> 00:30:39,240
Speaker 3: people like the National Right who sell out like Madison

574
00:30:39,240 --> 00:30:41,960
Speaker 3: Square Garden, they don't think they're going to get on

575
00:30:42,200 --> 00:30:44,480
Speaker 3: the radio, you know what I mean, Like they're not

576
00:30:44,600 --> 00:30:47,720
Speaker 3: even thinking about that. They would get on WFUV and

577
00:30:47,840 --> 00:30:51,240
Speaker 3: k XP and all of that, k w K, KCRW,

578
00:30:51,520 --> 00:30:54,800
Speaker 3: that whole triple A thing. But like the radio that

579
00:30:54,840 --> 00:30:59,720
Speaker 3: we're talking about, that's not a place like almost anybody,

580
00:31:00,160 --> 00:31:04,040
Speaker 3: most anybody that's not like an upper upper percent pop artist.

581
00:31:04,200 --> 00:31:07,920
Speaker 2: Really it's really interesting because but it has I don't know,

582
00:31:08,000 --> 00:31:12,680
Speaker 2: it's it has helped like talk like like the personalities

583
00:31:12,680 --> 00:31:16,200
Speaker 2: on the radio. Yes, I mean they have always been,

584
00:31:16,520 --> 00:31:18,920
Speaker 2: but you know even more so now like you see

585
00:31:18,960 --> 00:31:22,840
Speaker 2: these these kind of like each one has their own crew.

586
00:31:23,400 --> 00:31:26,720
Speaker 2: Obviously we have, you know, we're under the Elvis Duran

587
00:31:26,800 --> 00:31:29,600
Speaker 2: umbrella and that's that's our crew that's our that's our

588
00:31:29,680 --> 00:31:30,440
Speaker 2: Z Morning crew.

589
00:31:30,560 --> 00:31:32,720
Speaker 3: That's right, and that's what we grew up with. And honestly,

590
00:31:33,000 --> 00:31:35,360
Speaker 3: don't don't don't step to our crew at all.

591
00:31:35,680 --> 00:31:36,320
Speaker 2: I'll fight you.

592
00:31:36,680 --> 00:31:37,160
Speaker 3: I'll fight you.

593
00:31:37,320 --> 00:31:38,280
Speaker 2: We'll fight you in the dark.

594
00:31:39,680 --> 00:31:41,800
Speaker 3: I'm madly in anger with you.

595
00:31:41,840 --> 00:31:44,720
Speaker 2: So let's jump back into those lyrics. Maybe this is

596
00:31:45,080 --> 00:31:46,840
Speaker 2: how do you think he felt? How do you think

597
00:31:46,840 --> 00:31:50,360
Speaker 2: he felt when he wrote down I'm madly in anger

598
00:31:50,400 --> 00:31:52,880
Speaker 2: with you, like like madly in love with you. He

599
00:31:52,960 --> 00:31:54,240
Speaker 2: switched out love to anger.

600
00:31:54,760 --> 00:31:58,560
Speaker 3: Yeah, I think that two things are true for me

601
00:31:58,600 --> 00:32:00,560
Speaker 3: at the same time, with this whole record, in this

602
00:32:00,640 --> 00:32:02,960
Speaker 3: whole documentary, in this song, and maybe this is where

603
00:32:02,960 --> 00:32:06,040
Speaker 3: I can tie my little bow up on this. This

604
00:32:06,240 --> 00:32:09,640
Speaker 3: was probably a good thing for this man as a person.

605
00:32:09,800 --> 00:32:12,720
Speaker 3: He was going through a sobriety journey. He was going

606
00:32:12,760 --> 00:32:18,280
Speaker 3: through a like, uh sort of excavation of trauma journey.

607
00:32:18,560 --> 00:32:22,239
Speaker 3: He was going through a facing things down with his

608
00:32:22,360 --> 00:32:26,240
Speaker 3: bandmates and colleagues journey. And I think he needed to

609
00:32:26,280 --> 00:32:29,720
Speaker 3: write all of this stuff down to get that out.

610
00:32:30,320 --> 00:32:34,480
Speaker 3: Now do I think the lyrics fucking fuck it all

611
00:32:34,520 --> 00:32:37,000
Speaker 3: and fucking no regrets, which by the way, could have

612
00:32:37,040 --> 00:32:39,680
Speaker 3: been an I never seen a baby's hey, sorry or whatever.

613
00:32:39,680 --> 00:32:43,680
Speaker 3: There our very first r og shit. I think, uh,

614
00:32:43,760 --> 00:32:46,080
Speaker 3: I think that that sounds like Nickelback to me, A

615
00:32:46,160 --> 00:32:48,520
Speaker 3: fucking fucking nice it's fucking no regrets.

616
00:32:48,600 --> 00:32:52,400
Speaker 2: Yes, you're right, that is that is Nickelback. It's also

617
00:32:52,760 --> 00:32:55,040
Speaker 2: it's too many fucks in that, you know, like when

618
00:32:55,040 --> 00:32:57,040
Speaker 2: a when a kid is like learning him to curse,

619
00:32:57,360 --> 00:33:00,560
Speaker 2: and he's like, you fucking motherfucker. Yeah.

620
00:33:00,760 --> 00:33:02,720
Speaker 3: When we were this is when I was in the

621
00:33:02,760 --> 00:33:06,080
Speaker 3: first grade at our Lady of Angels Brooklyn, me and

622
00:33:06,120 --> 00:33:08,400
Speaker 3: this kid, John wine Garten, we asked to go to

623
00:33:08,440 --> 00:33:10,840
Speaker 3: the bathroom and it's a Catholic school and it's like

624
00:33:11,320 --> 00:33:14,800
Speaker 3: silent in the hallways. We walked to and from the bathroom,

625
00:33:14,800 --> 00:33:16,600
Speaker 3: and the whole time we were just going fuck fuck

626
00:33:16,680 --> 00:33:19,760
Speaker 3: fuck ship ship fuck fuck fuck fucky fuck shit fuck.

627
00:33:20,040 --> 00:33:22,440
Speaker 3: And so when we come back, it's silent and our

628
00:33:22,480 --> 00:33:24,280
Speaker 3: teacher's just looking at us, and we walk in and

629
00:33:25,120 --> 00:33:28,200
Speaker 3: heard everything you said, John, and we both like looked

630
00:33:28,200 --> 00:33:29,880
Speaker 3: at each others like the Spider Man me. We were

631
00:33:29,880 --> 00:33:32,200
Speaker 3: both like she did it, Like we both got in

632
00:33:32,440 --> 00:33:34,520
Speaker 3: a lot of trouble, had to bring home a note whatever.

633
00:33:35,440 --> 00:33:37,800
Speaker 3: It is exactly like that that's what this is. Like,

634
00:33:37,920 --> 00:33:38,640
Speaker 3: it's insane.

635
00:33:38,920 --> 00:33:40,560
Speaker 2: I wish she still had the note and like you

636
00:33:40,640 --> 00:33:41,800
Speaker 2: framed it in your house.

637
00:33:41,680 --> 00:33:42,400
Speaker 3: Maybe I might.

638
00:33:42,680 --> 00:33:46,080
Speaker 5: It says fu fu fuck, it says fuck at all,

639
00:33:46,200 --> 00:33:52,720
Speaker 5: fucking no regrets, fucking news, fuck my neck, and then

640
00:33:53,960 --> 00:33:55,360
Speaker 5: loves bright Eyes.

641
00:33:55,560 --> 00:33:57,040
Speaker 2: How dided eyes get in here?

642
00:33:57,640 --> 00:33:59,680
Speaker 3: Because I was thinking of fuck my face.

643
00:34:00,440 --> 00:34:03,400
Speaker 2: I would love a Metallica Bright Eyes Collabo.

644
00:34:03,800 --> 00:34:06,000
Speaker 3: Yo, he had flea on his last record.

645
00:34:06,600 --> 00:34:09,879
Speaker 2: But that's that's not the same thing now, I guess

646
00:34:09,920 --> 00:34:10,160
Speaker 2: it's not.

647
00:34:10,239 --> 00:34:16,239
Speaker 3: It's closer. You get me closer to flee Fuckla California.

648
00:34:17,719 --> 00:34:20,520
Speaker 3: And also the thing about the medallion and the news

649
00:34:20,640 --> 00:34:24,160
Speaker 3: and you know a lot there, he says, he hangs himself,

650
00:34:24,239 --> 00:34:25,600
Speaker 3: which is you know, trigger warning.

651
00:34:25,840 --> 00:34:30,000
Speaker 2: Sat Anger. Even just that name so stupid, it's so funny,

652
00:34:30,080 --> 00:34:32,319
Speaker 2: Like it's as if any of the other Saints have

653
00:34:32,320 --> 00:34:35,880
Speaker 2: an emotion attached to their name. Yeah, it's like Saint Patrick,

654
00:34:36,239 --> 00:34:38,399
Speaker 2: you know, Saint Anthony st Anger.

655
00:34:38,400 --> 00:34:46,480
Speaker 3: St Anger of a sissy st Anger you sissy? Yeah, Look, I.

656
00:34:46,440 --> 00:34:51,839
Speaker 2: Mean for me with you, I can't. I love it.

657
00:34:52,440 --> 00:34:54,840
Speaker 3: At the end of the day, a push comes to shove.

658
00:34:55,800 --> 00:34:59,400
Speaker 3: This is three times too long. Yeah, it has a

659
00:34:59,480 --> 00:35:02,440
Speaker 3: number of actually super I'm sure if you saw this

660
00:35:02,560 --> 00:35:07,000
Speaker 3: song played live, you'd be like taken in by parts

661
00:35:07,000 --> 00:35:11,080
Speaker 3: of its propulsive, aggressive nature. It needs to be sixty

662
00:35:11,120 --> 00:35:14,399
Speaker 3: six percent shorter at least, and they need to find

663
00:35:14,400 --> 00:35:15,840
Speaker 3: a better snare sound, and they need to put a

664
00:35:15,840 --> 00:35:17,840
Speaker 3: little bit of slapback or reaver ab on his voice.

665
00:35:17,880 --> 00:35:19,880
Speaker 3: And then we've got a song that I'm not like,

666
00:35:20,000 --> 00:35:22,800
Speaker 3: is it Master of Puppets? No, but it would be like, wow,

667
00:35:23,080 --> 00:35:25,560
Speaker 3: that's a really good late mid period metallic.

668
00:35:25,680 --> 00:35:27,640
Speaker 2: So there's a lot of metal. I like, like, I

669
00:35:27,680 --> 00:35:29,319
Speaker 2: don't think people look at me and they're like, there's

670
00:35:29,320 --> 00:35:32,160
Speaker 2: the metal god. But I definitely look at you and

671
00:35:32,200 --> 00:35:32,919
Speaker 2: say that you better.

672
00:35:33,040 --> 00:35:34,480
Speaker 3: I say it all the time. I say it's Eadie

673
00:35:34,520 --> 00:35:36,399
Speaker 3: all the time, like you know, Casey the metal God.

674
00:35:36,680 --> 00:35:40,360
Speaker 2: Yeah, Like, how was she doing since the weed brownies?

675
00:35:40,360 --> 00:35:41,080
Speaker 2: Who forced down?

676
00:35:41,560 --> 00:35:45,160
Speaker 3: Oh yeah, listeners from the last episode. Last episode, I

677
00:35:45,160 --> 00:35:47,600
Speaker 3: actually forced my daughter to have some weed brownies and

678
00:35:47,640 --> 00:35:49,799
Speaker 3: she's you know that story about the person who takes

679
00:35:49,840 --> 00:35:52,360
Speaker 3: acid and then they turn into a jug of orange

680
00:35:52,440 --> 00:35:55,880
Speaker 3: juice and then they like can't tip over Good Parent

681
00:35:56,000 --> 00:35:58,800
Speaker 3: Award CPS.

682
00:35:59,200 --> 00:36:05,279
Speaker 2: And she's like, I'm out, So I lost what I

683
00:36:05,320 --> 00:36:08,480
Speaker 2: was saying, Oh metal, I like metal a lot, actually,

684
00:36:08,960 --> 00:36:11,759
Speaker 2: and there are oftentimes that I want to dial it

685
00:36:11,800 --> 00:36:13,600
Speaker 2: all the way up and go to like death metal

686
00:36:13,680 --> 00:36:16,240
Speaker 2: or like you know, corrosion of conformity, like these bass

687
00:36:16,360 --> 00:36:18,000
Speaker 2: like when I'm in the mood for it, I want

688
00:36:18,040 --> 00:36:20,600
Speaker 2: it to be like it's like there's lots of pulp

689
00:36:20,920 --> 00:36:22,920
Speaker 2: orange juice, and then there's like some pulp. I like

690
00:36:22,960 --> 00:36:26,439
Speaker 2: lots of pulp, yes with metal, and this song gives

691
00:36:26,480 --> 00:36:27,600
Speaker 2: me a lot of that.

692
00:36:27,600 --> 00:36:29,040
Speaker 3: A lot of pulp in it, no doubt.

693
00:36:29,120 --> 00:36:31,120
Speaker 2: It's there's a lot of moments that remind me of

694
00:36:31,200 --> 00:36:34,000
Speaker 2: like what I like about metal. It's heavy, and it's

695
00:36:34,000 --> 00:36:36,560
Speaker 2: like it really does sometimes push you, like I bet

696
00:36:36,600 --> 00:36:38,319
Speaker 2: you it's a great song to like work out to

697
00:36:38,520 --> 00:36:42,279
Speaker 2: or like totally you know, but like as like a

698
00:36:42,320 --> 00:36:45,160
Speaker 2: person who likes how songs are written and like likes

699
00:36:45,160 --> 00:36:47,600
Speaker 2: to not you know, tip my hat to that. I

700
00:36:47,840 --> 00:36:50,320
Speaker 2: I can't. It's hard from it aside from the fact

701
00:36:50,320 --> 00:36:53,360
Speaker 2: that there are all these different parts. But the problem

702
00:36:53,400 --> 00:36:55,880
Speaker 2: with is it is that they do those parts so

703
00:36:56,000 --> 00:36:58,479
Speaker 2: much it all feels like the same part they do.

704
00:36:58,520 --> 00:37:01,400
Speaker 3: They literally just repeat the song in full three times

705
00:37:01,800 --> 00:37:03,600
Speaker 3: and then there's some other stuff that happens too. That's

706
00:37:03,640 --> 00:37:06,120
Speaker 3: too much. And I will say it's great to have

707
00:37:06,160 --> 00:37:09,239
Speaker 3: a whole bunch of interesting parts. They are capable of that.

708
00:37:09,280 --> 00:37:13,520
Speaker 3: They're compelling. They know how to construct their world very compellingly.

709
00:37:14,239 --> 00:37:18,960
Speaker 3: But when the change happened from the thrashiness of the

710
00:37:18,960 --> 00:37:22,399
Speaker 3: first two minutes to the first sung verse where we're

711
00:37:22,400 --> 00:37:26,200
Speaker 3: in that like heart shaped box slash aerials or whatever place,

712
00:37:27,040 --> 00:37:30,040
Speaker 3: I laughed out loud. I'd forgotten that. That's I was like,

713
00:37:30,160 --> 00:37:34,279
Speaker 3: the transition is so abrupt and so crazy, and then

714
00:37:34,320 --> 00:37:36,360
Speaker 3: his voice comes in and it's like he's like right here.

715
00:37:37,239 --> 00:37:41,480
Speaker 3: It was just like I actually thought it was legitimately funny.

716
00:37:41,960 --> 00:37:45,760
Speaker 3: So look, I think we have appropriately excavated Saint Anger,

717
00:37:45,800 --> 00:37:48,920
Speaker 3: and I think we've both we've given it plenty of chance,

718
00:37:48,960 --> 00:37:51,879
Speaker 3: and also we've called it like we see it. There's

719
00:37:51,920 --> 00:37:56,239
Speaker 3: a lot of bullshit going on here too, doggy, I know, arf.

720
00:37:56,520 --> 00:37:59,880
Speaker 2: I just I remembered that part in Give Me a Few,

721
00:38:00,000 --> 00:38:02,480
Speaker 2: will Give Me Fire get made, which is I think

722
00:38:02,520 --> 00:38:04,839
Speaker 2: they I like that song. I actually like that song,

723
00:38:04,880 --> 00:38:06,600
Speaker 2: and it does the same thing where it's like you

724
00:38:07,840 --> 00:38:11,360
Speaker 2: is pumped it engine. It's that same breakdown, but that

725
00:38:11,480 --> 00:38:13,600
Speaker 2: I think they they I think they stomped the landing

726
00:38:13,640 --> 00:38:15,560
Speaker 2: on that. Re Listen to that because I think that's

727
00:38:15,840 --> 00:38:17,960
Speaker 2: I know that that was a departure for them. They

728
00:38:18,000 --> 00:38:20,479
Speaker 2: lost a lot of fans from the heavy metal era

729
00:38:20,760 --> 00:38:23,399
Speaker 2: to the alternative. But I think I want to listen

730
00:38:23,440 --> 00:38:26,920
Speaker 2: to Fuel after this. I'm you know, you kind of

731
00:38:27,560 --> 00:38:30,920
Speaker 2: you you lit the Metallica candle for me again by

732
00:38:31,000 --> 00:38:33,440
Speaker 2: like kind of talking about their their backstory and how

733
00:38:33,480 --> 00:38:37,480
Speaker 2: that they sort of are a punk rock story.

734
00:38:37,880 --> 00:38:40,600
Speaker 3: They certainly were. They certainly were, and I think it.

735
00:38:40,640 --> 00:38:41,800
Speaker 2: Just made me give them a chance.

736
00:38:42,400 --> 00:38:47,120
Speaker 3: I think Metallica there's a lot to be said for it.

737
00:38:47,960 --> 00:38:52,640
Speaker 3: Lars is a tough sell. Lars seems to be a

738
00:38:53,080 --> 00:38:58,600
Speaker 3: god tear herb and you know, that's tough price of entry.

739
00:38:59,000 --> 00:39:05,160
Speaker 3: But Ah and James kind of look, there's herbaceousness abounds

740
00:39:05,200 --> 00:39:05,720
Speaker 3: in the band.

741
00:39:05,800 --> 00:39:07,839
Speaker 2: But I think he's actually really charismatic too.

742
00:39:08,160 --> 00:39:10,480
Speaker 3: She was like and he seems like she's also very

743
00:39:10,560 --> 00:39:12,759
Speaker 3: sent There's like a lot of sensitivity going on in

744
00:39:12,800 --> 00:39:16,080
Speaker 3: there actually, which kind of sometimes I get why Lars

745
00:39:16,160 --> 00:39:19,919
Speaker 3: is like, oh my god, but also Lars is kind

746
00:39:19,920 --> 00:39:22,600
Speaker 3: of like that just seems kind of like I would

747
00:39:22,600 --> 00:39:26,000
Speaker 3: take it to the garbage, kind of delete it. You know.

748
00:39:26,239 --> 00:39:28,400
Speaker 2: That's regardless, that's what that's his past.

749
00:39:28,480 --> 00:39:30,200
Speaker 3: Yeah, that's Lars's past.

750
00:39:30,280 --> 00:39:36,160
Speaker 2: That's his influence. So long story short, Madly and like

751
00:39:36,640 --> 00:39:37,360
Speaker 2: with you.

752
00:39:38,280 --> 00:39:40,520
Speaker 3: A Mellian Chauncey with you.

753
00:39:41,920 --> 00:39:45,279
Speaker 2: That's really good. It's fun. I really like that one.

754
00:39:45,360 --> 00:39:46,440
Speaker 2: Put that on a T shirt.

755
00:39:46,640 --> 00:39:49,120
Speaker 3: Yeah, anyone out there who wants to make T shirts.

756
00:39:49,440 --> 00:39:51,399
Speaker 3: The first one we had was what was the first one?

757
00:39:52,600 --> 00:39:55,880
Speaker 2: I know, the back said I smush it down, you

758
00:39:55,960 --> 00:39:58,000
Speaker 2: smash it down, and in the.

759
00:39:57,920 --> 00:40:02,840
Speaker 3: Front I should say I'm madly in chance with you. Okay, yeah,

760
00:40:02,880 --> 00:40:05,120
Speaker 3: so in the show notes right your home address and

761
00:40:05,320 --> 00:40:08,279
Speaker 3: will get the T shirts from you whoever's making the

762
00:40:08,320 --> 00:40:09,920
Speaker 3: T shirts, give us your pin code.

763
00:40:10,280 --> 00:40:14,200
Speaker 2: Yeah all right, buddy. Well that was really fun. I'm

764
00:40:14,239 --> 00:40:16,840
Speaker 2: really I was exciting. And I think like of the songs,

765
00:40:16,920 --> 00:40:19,359
Speaker 2: like I don't know, there's attributes about the song that I.

766
00:40:19,280 --> 00:40:20,879
Speaker 3: Like more than this is one of the best ones

767
00:40:21,719 --> 00:40:24,239
Speaker 3: ones because it's its own thing in a way that's

768
00:40:24,320 --> 00:40:25,760
Speaker 3: kind of like yeah, I get.

769
00:40:25,640 --> 00:40:28,120
Speaker 2: It, I know. And it's also like it's a it's

770
00:40:28,120 --> 00:40:30,799
Speaker 2: sometimes a genre that like it's like a horror movie

771
00:40:30,840 --> 00:40:33,239
Speaker 2: that's like when it's kind of bad. You're almost like, yeah,

772
00:40:33,239 --> 00:40:36,360
Speaker 2: that's fine, exactly, they're supposed to be a little bad,

773
00:40:36,680 --> 00:40:36,960
Speaker 2: Like you.

774
00:40:36,960 --> 00:40:40,040
Speaker 3: Know, that's exactly right. Yes, this isn't we're not looking

775
00:40:40,120 --> 00:40:43,520
Speaker 3: for what we're looking for from, like you know, light

776
00:40:43,640 --> 00:40:51,319
Speaker 3: album or something. Yeah, yeah, exactly, Carls June. That's our

777
00:40:51,400 --> 00:40:54,600
Speaker 3: that's our our. Of course we always, as always we

778
00:40:54,719 --> 00:41:02,600
Speaker 3: end the show with a shoutout. I heard you were

779
00:41:02,719 --> 00:41:05,880
Speaker 3: a minutaur. I don't have anything else to go.

780
00:41:06,520 --> 00:41:09,440
Speaker 2: Okay, we're just rambling at this point. We're keeping it

781
00:41:09,480 --> 00:41:10,239
Speaker 2: all in.

782
00:41:10,600 --> 00:41:11,320
Speaker 3: By Chancey

783
00:41:13,480 --> 00:41:14,759
Speaker 2: He's just giving a sha