Signals of Bedlam

This is an old one but a good one! We're re-releasing this to the world. Interview happened during COVID times. 

Host PJ Pat dives into an engaging conversation with Chika, the bass player of the New York-based progressive metal band Signals of Bedlam. They discuss the band's journey, their latest album 'Liar's Intuition,' and the intricacies behind their songwriting process. The interview also touches on the challenges and opportunities of being an independent band in today's music industry, as well as the impact of the COVID-19 pandemic on their creative process. Listeners can look forward to insights on how the band collaborates, the evolution of their sound, and the personal experiences that shape their music. The episode wraps up with a spotlight on some of the band's standout tracks.

00:00 Introduction and Podcast Origins
01:30 Interview with Chika from Signals of Bedlam
03:28 Chika's Musical Journey and Band Dynamics
16:01 Songwriting and Album Insights
29:58 Impact of COVID-19 and Future Plans
33:20 Conclusion and Final Thoughts

All music in this episode is by Signals of Bedlam. 

Transcript

[00:00:00] Welcome to the It's 1 Louder podcast. I'm your humble host, PJ Pat. Thank you so much for joining today's episode. Today is an exciting one because it's an old one, but it's a good one for those of you don't know. I started the, it's one louder podcast during COVID, actually, number one, to get out of my boredom, and number two, to try and do something productive.

[00:00:21] And at the time, I had the idea of interviewing bands and playing their music and just highlighting. Uh, the bands that I admired and had the privilege of interviewing Chica from Signals of Bedlam, they sound like the Mars Volta kind of froggy, pretty heavy, just right up my alley. So their bass player, Chica, was kind enough to get on a Zoom call with me, and we just went through their music and what inspires them.

[00:00:47] And talk a little bit about, uh, you know, their songwriting process. Hope you enjoy this one. More importantly, hope you enjoy their music. We talk about the album called Liar's Intuition released in 2021, and I'm looking now, and that is the latest one still on my streaming service. So I'm hoping they're working on a new one.

[00:01:05] I hope they haven't disbanded, although you never know. It's really hard. Uh. Personally speaking, it's, it's hard to keep four or five human beings together focused on one goal for a long time. That's why huge admiration for a band like The Rolling Stones, obviously, who's been at it for the longest and just schooling all of us.

[00:01:25] Hope you enjoy this. Check out their music. It is awesome. I'm gonna play you everything from the original intro. Here we go. Welcome to the It's one Louder podcast.

[00:01:48] Your host, PJ Pat, has done absolutely nothing that you would know about, but don't fret. PJ Pat's Pat. Passion for rock, hard rock, and heavy metal will no doubt please all head bangers as he explores the world of the modern rock star from a musician's perspective.

[00:02:20] Wow, isn't that such a wicked song? It's called Red Sunflower and it's gonna be by the back. We're highlighting today called Signals of Bedlam. If you're into bands like the Mars Volta tool, faith No More, you'll absolutely love this band. I had the privilege of interviewing Chica, their bass player to talk about their latest album called Liar's Intuition.

[00:02:40] Not only did she blow me away by being a woman, but an American woman playing intricate. Heavy metal music, as if that wasn't impressive enough. What really impressed me is just her personality. She's such a bubbly personality. She has a lot of things to say. I'm sure you'll enjoy this interview. We talk about all kinds of things such as how a person like her got into heavy metal music, the evolution of the record label.

[00:03:04] We even get a little philosophical on how music unites everybody. Obviously talk about the latest album, Liar's Intuition. How was it written? Who produced it? How was it recorded? And dive into a couple of their songs. I'm sure you'll have fun with this one. Join me with this interview with Chica from Singles of Veterans.

[00:03:28] What's going on, Chico? How are you doing? I'm good. Good. Well, nice to finally meet you. I think you've done something that. I haven't heard before. That's actually really hard to do. Uh, listening to your album, you've combined, in my eyes, this is my description. You've combined the Mars Volta and tool and I heard a little bit of faith no more in there, all into one and it sounds awesome.

[00:03:52] Awesome. I definitely appreciate that Mars Volta tool, all definitely big influences of ours. I. Sound wise, we came of age a little bit in that era, and so I think listening to all of the different things that we listened to from that time, from now, uh, our different influences. Yeah. So I see that you're all from New York and have you originally all been from New York or We are from the New York metro area.

[00:04:18] We play there and. It's funny, our band is a hundred percent Craigslist band. Sarah, the singer, uh, and Tom had gotten together lead guitarist basically via a Craigslist ad, and they got together and they saw that they had a lot of affinity musically, socially, and, and they were working together, and then they put out another ad to look for a rhythm section.

[00:04:38] Then, you know, I started on bass with another friend of mine at the time who played drums. Again, just from. Following Craigslist ads. That was, uh, our first album, no Gods No Monsters altogether. And then Rich joined also I think from an internet ads. And the last album that we just put out, liars Intuition, that one was our first album that this lineup, this four people wrote altogether from start to finish.

[00:05:01] So it represents. All of us individually and collectively in a different way than the other things I've done before. When I did searches for your band name Singles of Bad, that Liar's Intuition, that's the only album that came up. Is that the first album that you're truly promoting because of this new band and new sound?

[00:05:20] Because I couldn't find anything else. Our first album, I know God's No Monsters. That was, uh, a way different sound, but we recorded it in Brooklyn. Mixing ourselves. Escaping Velocity was our second album together and that we did with, uh, Frank at Voodoo Studios and he's worked with a lot of cool guys, Dillinger Escape Plan, glass Straw, the Deer Hunter.

[00:05:41] And so we worked our second album with him and also Liars Intuition. And I think maybe the Difference with Liars Intuition coming up to the forefront is we started writing that album maybe four years ago and we finished it like last year. And waited until this year really to, to put it out and before the whole 2020 like situation.

[00:06:04] Mm-hmm. We were very much a, a live band and so we would record, but our emphasis really was on playing as many shows as we could and playing around and doing like small regional tours. And so with that not being an option last year, we discovered a new way of working together as a band and talking about social media.

[00:06:25] Instagram, like doing stuff digitally. That was really new to us last year and it's been, it's been working pretty well so far, but I think that's a big difference is that we just had the time, the forced time to have to figure out a new way to get ourselves out there and to, to share our stuff that isn't just book a show at Knitting Factory or whatever other local New York venues there are, which is what we were doing a lot.

[00:06:49] Prior. Yeah. You seem to be fairly active on social media, at least on Instagram. That's how I discovered you and checked out your YouTube and you checked out your video for Red Sunflower, which is really well done. Which leads me to ask like, are you associated with a record label at all, or this is just all self done, self-produced, self financed, everything.

[00:07:11] Yep. It's hundred percent self. Everything. A record label, at least you know my understanding of it in. This day and age, they don't provide maybe as much as they used to or maybe what a person would perceive that they provide. Okay. We get signed and then they cover all of this thing. One of the things that we learned this year is that a record label provides access to people and they can provide funds, but you also have to be able to generate funds for them.

[00:07:36] And so. The idea of connections, I think is something that we leaned into just finding the network of musicians and engineers and video people and PR people. Where can you recommend somebody who specifically in our genre, like we play. The more metal progressive stuff. One thing that's been important for us this year is just finding people who have a love for that style of music to work with.

[00:08:04] Because you can pay anybody to do anything, I think, for you, but if you can work with people who at least have a shared enjoyment for the style of music and, and what you're saying, like socially. You just get more, I think, more rich interactions. And so Tom Flynn, he was the one who directed and and shot the Red Sunflower Music video.

[00:08:29] And that was somebody that we met through Voodoo Studios where we record. And Tom Flynn is great. He's done a lot of like. High caliber videos. I think most recently he's done stuff with Covet and Lamb of God. It's just finding people to work with that, come on, good recommendation and are just part of a scene and a network.

[00:08:48] And I think the idea like, oh, the scene is dead. People will say that. It's not really, you just have to go to where it exists and just really ask for help. Because people want to help. They wanna do what they do best, and it's not always just, I'm a guitarist or I'm a drummer, or whatever. If somebody is a publicist, they want to have good connections with, with musicians.

[00:09:13] If somebody is a consultant for social media marketing, they want to be able to have a good track record too. So I think it's mutually beneficial in that sense. Absolutely. I think it's so key. You're right. Partnering with the right. People in the right record liberal. If you ever wanna go that route, you wanna find people that's passionate about your music, then I'll take it there further.

[00:09:32] Now if, if there's one city to network within the rock community and develop relationships, new York's gotta be it. So you're definitely in the right city for that. Yeah, there's definitely a ton of people. It goes both ways. I think one of the challenges with the city, especially when we're playing lives, that there's just so much.

[00:09:51] Mm. There's just so much, not even just musically, but just competition for people's attention where it's like, I could go to a show today, or I could go to the theater, or I could go to any one of these cool bars, or I could go to this immersive bowling experience. There's all kinds of stuff and yeah.

[00:10:07] 'cause people centralize here. I think the internet is an equalizer, especially with when you can't get outside. The way that we haven't been able to last year where it's here in Canada and I'm on the other side of North America to you, and yet here we're able to have a conversation and to connect over social media or over the internet.

[00:10:27] So I think that's really cool too. Yeah. It's like the good is anyone can do an album, write songs, write music record in their basement. Now that's the good thing. The bad thing is that. Anyone can do that. So you have to fight through the, the competition and all that muck to come on top for people to start noticing it.

[00:10:45] And that's what comes down to the passion. It comes down to the dedication and I think the difference between record labels now and record labels back then, it's record labels back then allowed the artists to grow and develop and find their sound, like I think didn't break until their fourth album. Now, record labels actually want you to do all that stuff to figure it out and to develop almost your fan base until they really.

[00:11:08] Start noticing. I'm talking about like the bigger ones, obviously. Yeah. I think that's the truth. So the whole idea of being discovered is different now because here, I think in modern times, you really have to put in the legwork yourself and to show somebody that. We're already going places, like we already have our act together and all we need is extra connections or, or extra money or extra whatever it is that a record label can provide to help springboard you from the level you're at to the next tier.

[00:11:38] It is tough because the music industry, when you're at like a lower level, you gotta find the revenue and, and that's some advice that we've gotten from, from other consultants too, or people that we've just met and spoken to, is that. The record labels, uh, and in more, it's not even independent, but when you're not like Warner Media or whatever, it's an investment of their resources and so they want to return.

[00:12:02] And so the easiest way is to show that, hey, we can sell records by ourselves or we can sell charts by ourselves. We just need help booking a tour, or we need help with distribution or, or whatever. The relationship has to, I think, work both ways more for a record label today than maybe it did in the past where a record label can say, we're just gonna promote rush.

[00:12:19] 'cause we think that. They've got something and grow into it. That's a little bit harder, I think now. Yeah, they gotta see a little bit more meat around the bone. So I want to talk about you specifically because the music obviously is very intricate, very complicated. The musicianship is on another level, and you yourself, first of all, being a woman playing rock as a bassist, but on top of that, you're an African American woman.

[00:12:46] Where did you, how did you. Come to this. Who, who are your influences? You're just blowing me away right now. Oh, no, I appreciate that. Yeah. I think what's good about New York is that there's just a lot of different types of people, and so maybe more so than when you're in like a smaller town. There's obviously not a lot of females who are in music, but in New York it doesn't feel as drastic because we just have more different types of people.

[00:13:10] And so for me, I grew, I grew up musical, and so my dad played, my uncle played guitar. And so I grew up listening to just different types of music, a lot more jazz or RB or my family's experience, so like a Western African sound. And just in high school is really where I started to find rock and metal and heavier stuff.

[00:13:30] Just purely how anyone discover stuff because your friends were listening. And so it was like I started picking it up from my friends. It just seemed to click with me, and even to this day, I still listen to lots of types of music. Yeah. I don't know. The music just stuck with me, and I'm not like an aggressive person, but there's something about the aggressiveness of metal and rock and the, the theatrics of it.

[00:13:54] I enjoy performing. I enjoy seeing people running around on stage and putting on a good time. This is something I think that irrespective of what your, your background is or. Ethnicity. There's just something in that energy that speaks to me and speaks to a lot of people, so I can hope that seeing someone like me might encourage somebody.

[00:14:15] There's just something about that energy that heavy music has that you can, and even progressive music where you can bring in different influences and do things that are not expected. That just really resonates with me and everyone else in the band too. You have that in common? I think wherever we, as people can circle around things that we have in common, it makes all of the other differences that we have just less divisive, where it's like, how can you really hate somebody?

[00:14:49] If you're both having a great time at the same show, come on, you are preaching to the choir right here for for sure. In terms of that and in terms of the energy around rock, don't get me wrong, I love Pop too, but it's just something that you don't get with traditional pop music. In terms of your role models or your music influences.

[00:15:07] I don't know if bad brains or living color was influential to you, but when I heard those bands, it just blew me away and seeing how different they were, even that also just blew my mind and that Wow. As a kid listening to that, it just opened doors for me. I think the idea of seeing, oh wow, these are not the kinds of people that I expected to see Play Rock.

[00:15:26] And bringing in other influences, bringing funk into rock. Right? Our singer, Sarah, brings a lot of Spanish sounding things into the music, and it's subtle, but it's part of his sounds that he grew up listening to. What I see. Speaking about a band like Living Color, is that the sounds that you grew up with?

[00:15:43] Bringing that into a a new context I think is super interesting and I appreciate that. Signals of Bedlam allows a space for all of the things you were listening to find a home and still somehow turn out cohesive. Let's get into the, the music here about Lars Intuition. How did the songwriting process happen?

[00:16:03] Is it a collaborative thing or does one person or two people come up with most of the ideas, or how does that work? So for this album, it was probably the most collaborative thing that we, we did. And so it took us a while. Our last album, escaping Loc, came out in 2016 and we just played that album live for a while and just, you know, jammed around without really trying to write specifically.

[00:16:27] But probably by 2019. We were like, okay, we, let's write an album and like actually get our act together. We had twice a week sessions. We had our rehearsal studio and it was like Wednesday night and Sunday afternoon. And basically we would get together and just like jam riffs, people would bring riffs ahead of time and we'd mold it together.

[00:16:47] And so it was very democratic process, which is great because everyone's individual sound has a stamp there. But like democracy, it's also messy because sometimes it is easier when you have one or two people who are just like, this is the way the song goes. And when you don't have that, you'll get to a result.

[00:17:06] But it might take longer. It might take a lot of back and forth because we're all very energetic, passionate people, and it can create challenges when everyone has such a strong opinion or voice. And sometimes you, you don't know even if something is working, getting into the studio as a bass player and the drums, those tie really closely together.

[00:17:28] The rhythm guitar ties really closely together in our sound. And so that structure was there. Even getting into the studio, the vocals were still getting refined, and the lead guitar parts were still getting refined. The music is so intricate and so complicated that I, I would assume that most of the structure of the songs were already laid out.

[00:17:48] You're not one of those bands that kind of, I like, we'll just figure out, we'll just jam it on the studio. We'll just write it that way, you know? Yeah. That, that we, we, we tried it. We, we attempted that a couple times and we were just like, we actually have to just scrap this song, because if it's, if the structure isn't there.

[00:18:01] When you're in the studio, it's costing money. Right. Yeahs? I'm saying Unless you want Yeah, unless you wanna spend a hundred grand uh, jamming it out. Go ahead. Exactly. So it's, but our, our writing process is very much, somebody might bring a riff and we would've jam the riff in practice ideas, just pop up the drummer Rich.

[00:18:16] But might have been like this section. What if you just added an extra beat to it and put it in five instead of four, and then you're like, it sounds too normal. Yeah. Yeah. The music I think is complicated and we all have the music education in our backgrounds. But we're not very like theory minded, even while we're writing.

[00:18:38] It's very much like this kind of feels cool. And if you shook us awake in the middle of the night and held a knife to us and said, tell us the theory and the, the stuff, you know, behind the tracks, yeah, we could figure it out. But it's very much. So this feels cool or this sounds interesting, or this tickles my ear in a certain way, so let me try it.

[00:18:56] And just trying things and committing to them and not being afraid to scrap them. Our, our second single, I think in this cycle was pendulum and swing, and that verse, that was one of my favorites. It's really, uh, rhythmic and it has like vibes to me a little bit, but we have 17 different versions of that verse before.

[00:19:16] That one landed. Yeah. But you would keep a verse version for for months, and then you're just like, actually this is not good. I think the first song just gets ahold of you, just kicks your ass. It's called Twilight Rebel with Red Cap. It just gets right into it. There's no music in intro. It just bam hits your face with this vocals and it just starts.

[00:19:49] That's cool. I, I haven't heard an album opening like that in a while. Obviously that was a conscious decision to start the album with that song, and I, I guess say if your goal was to kick someone in the face right away, you accomplish it for sure. So that's a funny one. Making it the album opener, writing it, we were like, we have a lot of things that have, have intros, so let's have no intro for this and just start the song.

[00:20:10] Yeah. And even making it the album opener. It's funny that you mentioned that you like that because I was a conscious choice, uh, from the band where we're like, we just wanna start off with this if Sure. 'cause if you listen to this and you don't like it, you're not gonna like the rest of it. So at least like, let's tell you ahead of time.

[00:20:24] Um, but we shared it with other friends and people that we knew in the music scene. And ask them for what they thought the order of the album was, and that was not a choice that everyone loves. Let, let's just say. But you're not, you don't sound like a band. That would bow down to what a lot of people think anyways.

[00:20:43] Yeah. Yeah. And we basically were like, that's cool. Thanks for your opinion, and still went ahead and did it. Listen, I'm a big fan of a Ramone's punk song any day, but I love bands and albums that have weird song titles, weird timing, weird structures. You're not sure if there's a chorus in a song or not. It just allows you to digest the album over weeks and weeks.

[00:21:03] 'cause every time you list it, you don't uncover new things. So I really appreciate that. So my favorite song on the album is called Sinister Slate. I love that offbeat rhythm thing that kicks in.

[00:21:49] It's very foolish. Hello tool, and even the way he sings it reminds of Maynard. I just love that offbeat rhythm that you guys did. How'd that song come about? That was an interesting one. The first thing that was written was the chorus. I remember hearing the riff. I was like, I'm gonna just try different chords underneath it.

[00:22:07] Just do stuff that doesn't make any sense. And it did. It sounded cool. It's funny though, intro like that, that kind of mathy intro for that. Yeah, it was written in one rehearsal and I wasn't even there. I think I missed the rehearsal and I came back and it was Sarah and Rich. Sarah is our vocalist, also Rhythm Guitar and Rich is our drummer.

[00:22:28] There was a rehearsal. It was just them two. And then I was back the next week and they were like, this is the riff now. So learn it. And it was funny 'cause when you're writing, sometimes stuff takes weeks, sometimes stuff takes months. Sometimes you figure something out in like an hour. That was another song I think that was written out of order.

[00:22:47] I think most of our songs are where you're like, I have this section and. It doesn't make sense as to start with, so come up with something else to lead into it or come up with some other transition to lead into another section. I think the vocals do a really strong job of adding glue over everything, because at least in our process, the vocals come last.

[00:23:08] So. We're basically running with instrumentals for months. Mm-hmm. And just refining those. And then once the instrumentals are basically mostly done, that's when the vocals come in. What I really appreciate about Sarah and other singers like this is just that melody and having hooks that people can still latch onto where we like weird stuff and we love complicated stuff too, but we don't want the music to be complicated.

[00:23:34] For complexity's sake, in my opinion, not every human plays guitar. Not every human plays, drums, bass, but every human can sing. Every human can talk and sing. And so when you hear, uh, a melody. That your ear can grab onto, even if you're not a musician, it gives you something to connect to. And you don't realize the song like Red Sunflower, that it's in 13 eight because you're just listening to the little melody and you're just following along.

[00:23:59] Those are the best songs when it, it is not as straightforward, but when you listen to it, it, it doesn't feel like that. And if you listen to a lot of the Beatles songs, there's a lot of them like that. I think it's like an easy four chord song, but it's not, you know, type thing. Stevie Wonder is like that a lot too.

[00:24:14] Where when the chords are complicated, the melody is simple, and when the melody is complicated, like the chords are simple. And so I think contrast is really important when, at least when we're writing, there's other bands that do that where they just wanted to challenge the listener a hundred percent.

[00:24:28] And that's cool. That's totally fine. We don't wanna challenge the listener too much. We want to engage you, we wanna draw you in, but we. Came up in New York as like a bar band, right. Playing dive bars. Like we still want you as a person who's just there with a beer hanging out. Have fun listening. Yeah, that's great.

[00:24:44] I am assuming Tom is doing a lead guitar on that, his lead guitar at the end of that song.

[00:25:25] Fun kind of of sound guitar, solo. It's not really a thing that we do too much. But I think specifically at that section, we were like, why don't we just have a guitar solo up here and just ride it out in this like desert like sand. This is how I visualize it, like space and just have a soaring lead. You mentioned, was it Frank?

[00:25:46] Yeah. Frank mc. Yep. Miona. So he produced the album. How was that like working for him? Is he the type of producer that gives you the freedom or he has input and he even helps with writing songs? What type of person was he? Going back to our earlier philosophy of just working with people who have an affinity for the thing that you're trying to create, Frank is one of those people where he gets the sounds.

[00:26:08] He's worked with other bands in the genre, and so for us at least inviting somebody into your. Musical circle, like they're going to have input. We want that input, and we want you to be someone who can provide input. That's good. And we've worked with, you know, other producers in the past, specifically on our first demo ish album where they didn't really have a taste for metal or for heavier music.

[00:26:31] And so you're paying somebody, but all they're really doing is like pushing play and record a glorified button pusher. And so being able to invite somebody in to the process like Frank, he. Is able to provide input and say, what if you tried this thing that you didn't think of? What if you picked up this instrument?

[00:26:50] He can say, what if? You know, we, we played with the AMP sound this way. We wanted somebody that we had a built up a relationship with, the rapport with. 'cause this is our second time recording with him. You already know one another. They know how you work. They know if you wanna take longer on something.

[00:27:04] They know when to encourage you to take a break. So it's really great and I, and I assume that. You know, next recording, we're gonna keep going back to him because once you find a good relationship, as in anything, it's always good to lean into that. Yeah. The good producers, they're almost like a exactly.

[00:27:25] Another member of the band in that sense. And when bands actually discover that it's magic. For sure. Just one last thing about the album, take The Crown, it's obviously a political song. But to me it's the most blunt little song. 'cause I can actually understand what. He was trying to, you know, save, save the.

[00:28:10] Do you categorize yourself as a political band? Yeah. Tom and Sarah, they were the, the first to. Members, right of the band. And I think part of the first time that they met, it wasn't just the shared music, they were both big fans of Rage against the Machine. It was also just the shared perspective and outlook.

[00:28:27] And I think that's always been something that's been core to the band's sound. So whatever the lyrics are, like, they might not apply in a couple years or they might have a different take in a couple years. But I think that's something that is part of the, the band sound, is that it's a reflection of the moment and it's a reflection of our thoughts and opinions and perceptions and being able to speak so that other people who, who feel those ways they can connect with it, I think is an important.

[00:28:56] Core aspect, there's no other way to do it. Just write what you feel and what you're passionate about. When I said take a couple weeks to digest this album. Yeah. It's also lyrically as well. 'cause he is, uh, pretty poetic with a lot of like analogies and stuff. Not everyone grasps the first take. You have an intent, obviously when you create something, even something as meaningful perhaps, or as.

[00:29:19] Poetic as lyrics, but also something like where I hope somebody hears this riff and realizes that it's like a callback to a riff from earlier in the track. It's like you have something that as an artist, you have an intent, but then once it leaves your hands. That's it. The people can digest it and can come away with a different interpretation than was your intent, and then that's okay.

[00:29:43] That's totally cool. So yeah, I think the best art is like that. We appreciate you saying that because that's the way that we want to be perceived. Chew on this, think about this, absorb it and interpret it. So how are you been doing during this COVID period? It's been a year now. Do you guys still jam or laid off on that for a while and just focus on promotion with Yeah, I think our last, like in-person rehearsal, we, yeah, we've passed the year mark on that and so it's very much been us individually doing things and we talk on the phone or like FaceTime every week as a band.

[00:30:22] Discuss promotion, getting merch out. And again, one benefit of this time is that it's given us the forced space to be able to focus on different aspects of being a band, like the promotion aspects, specifically like growing our social media. And so that's been beneficial and I think trying to figure out what writing means in this context.

[00:30:42] Like everybody, there's a lot of things that people are realizing that, or thought that they couldn't do, that they're realizing they can do. And so for us, we've always been a live band. We've always been like, we jam it out together. And so we never probably thought about writing individually and remotely sharing tracks back and forth, even though that's the way that most big bands right now actually write their own music.

[00:31:05] But now it's something where it's like, Hey, you know, we actually probably can do this. Yeah. It's opened some doors in new creative ways to interact, which is great. Speak of social media. So you have your Instagram, right? Yep, yep. Everyone. So everywhere we are that sign Signals of bedlum. So signals of bedlum.com, Spotify, signals of belam, Instagram at signals of Belam, or on Facebook, probably at signals of belem.

[00:31:30] Anywhere you find us on the internet, we're always open to a message. Hit us up. We're here just hanging out like everybody else, so yeah. Yeah, Instagram is our most active platform probably. Yeah. That's where I reach out to you. I know it's tough to say now, but what are your plans in the future to promote Liar's?

[00:31:47] Intuition in terms of touring, things move so quickly, and it's a month ago we would've been like, we're not gonna be able to do anything this year. But now all of a sudden it seems like people are optimistic about doing things this year, people are getting vaccinated, places are are opening up capacity again.

[00:32:05] And so we definitely wanna do some shows, some touring, getting out some, some more merchandise and pressings and stuff. That's something that we wanna do. We're figuring it out one minute at a time like everybody else. Just stay tuned and once the wars open up, any plans come up to Canada? Rock, rock, Toronto.

[00:32:24] Yeah. I, I have never been personally and I would love to come up Canada, you're the, the second Canadian we've spoken to in the last three weeks or so, so I think that might be a sign we gotta. I gotta look up there. There you go. Not so far it's drivable. Awesome. You're more than welcome to come out here.

[00:32:39] Nice. Well that I'll show you around my turn. It's good to know people in places. That's our motto, right? We're talking about connections and networking earlier. Right. Thank you so much for doing this interview and it was amazing meeting you. Uh, the music is really inspiring being a musician myself. Let's keep on rocking.

[00:32:55] This is all I can say. You know, you too, pat. Thank you so much for inviting us to speak. We love talking to people. I love talking to people. I appreciate the new connection and the, and the expansion of our kind of shared network. So please do keep in touch and for sure, looking forward to seeing you guys live one day.

[00:33:13] Yeah. So hope, hope to meet you up in Toronto as well soon. Yeah, you got it. Until then, stay safe. Okay, you too. Thank you. Bye-Bye. Wasn't she simply amazing. Such a good time. Check 'em out on Instagram if you wanna get ahold of them. They're under signals of Bedlam and of course stream their music one louder for sure.

[00:33:32] Alright, well until the next one, I'll see you in the front row once COVID is over. That

[00:33:45] needless to say, all the music you've heard today on the podcast is courtesy of signals of bedlam. This one right here is called Pendulum in swing. You know what? Crank it up. One louder and I'll let it go for a while. All right, rock on.

[00:34:57] Dyna.