Lamb Of God - Into Oblivion - Album Review

00:00:00.160 Into Oblivion by Metal Titans Lamb of
00:00:02.240 God, released just a week or two ago. It
00:00:05.600 is their 10th studio album. It's a
00:00:08.400 crusher. Let's talk all about it right
00:00:11.040 now.
00:00:16.160 So, Randy Bliss is an interesting cat.
00:00:19.039 Uh, we got introduced to this record
00:00:21.920 with him talking about how the old
00:00:24.400 standard lamb of God logo looked like a
00:00:27.840 falafel, you know, logo for a falafel
00:00:30.560 place.
00:00:31.439 >> And that was the kind of the intro into
00:00:33.760 into oblivion for me. And I'm like, you
00:00:36.320 changed the logo. And by the way, it's
00:00:38.640 the only thing I don't like about the
00:00:40.320 record. The logo sucks, but other than
00:00:42.879 that, this is a return to form. And
00:00:45.760 their old logo was way better than a
00:00:47.440 falafel restaurant.
00:00:48.800 >> Well, I have to pull it up now because I
00:00:50.480 have spent more time listening to the
00:00:54.079 album than looking at anything. Uh, so
00:00:57.680 what do we have? Oh man. Lamb of log.
00:01:00.239 Sure. Sure. That'll work. Lamb of
00:01:06.400 Oh my god, it's all come apart on me,
00:01:09.520 Derek.
00:01:11.040 Okay, so this is what he said. Well, our
00:01:13.360 logo, to be perfectly honest, needed
00:01:15.360 changing. It's the papyrus font, and we
00:01:19.119 we known 20 however many years ago that
00:01:22.479 we would wind up looking like a falafel
00:01:25.040 restaurant menu. We wouldn't have used
00:01:27.200 that. But that was before Papyrus font
00:01:30.000 was ubiquitous.
00:01:31.520 >> Sure,
00:01:33.439 >> I would have kept it. I I like the logo
00:01:36.000 as it is. I don't like change. Maybe
00:01:37.920 maybe that's my problem. Maybe that's
00:01:39.920 it. Maybe maybe you're just too old now
00:01:42.000 and you're you're set in your ways and
00:01:43.600 damn it, this is just too much for you
00:01:45.280 to take.
00:01:47.840 >> I don't hate I don't hate the new logo
00:01:49.439 as much as you do. That's okay. Uh art
00:01:52.320 is subjective, right?
00:01:54.159 >> Well, in the a AI age where, you know,
00:01:57.119 we basically created a mascot and taught
00:01:59.280 AI what gain is,
00:02:02.079 >> you could come up with a better font and
00:02:03.840 a better logo than what they came up
00:02:05.759 with. I'm not going to lie to you. you
00:02:07.439 know, it it could be done. Um, but that
00:02:10.000 being said, uh, Into Oblivion is again,
00:02:14.239 we've talked about this, a return to
00:02:16.480 form. Uh, I believe that this is the
00:02:18.720 best record they've done since 2009's
00:02:21.120 Wrath. Um, they started off really
00:02:24.879 strongly in 2000 with New American
00:02:27.520 Gospel, uh, As the Palacees Burn in 2003
00:02:30.720 and Ashes of the Wake 2004. And then the
00:02:33.440 high water mark for me is Sacrament in
00:02:36.160 2006 and then Wrath in 2009.
00:02:38.879 >> This to me is the album that should have
00:02:41.360 followed Wrath in 2009.
00:02:43.200 >> Well, there was a bit of a break, but
00:02:44.720 now you finally got it. It is a
00:02:46.959 >> and and that's not to say it's not and
00:02:49.120 that's not to say that the records in
00:02:50.640 between there are bad. It's just
00:02:52.879 something was missing and I'm and and
00:02:54.640 I'm sure we'll talk about that.
00:02:56.080 >> Yeah. Uh producer Josh Wilbur, longtime
00:02:58.720 collaborator of the band uh with the
00:03:00.480 band. Uh, it's a strong outing. It's
00:03:03.920 That's one of the cool things about
00:03:05.440 bands like Lamb of God. You know, we've
00:03:08.159 talked about bands that are heritage
00:03:10.080 bands. You know, they've been around
00:03:11.440 forever. Um, I could you pick a bad
00:03:15.760 album of Lamb of God. Is there a bad
00:03:18.879 Lamb of God record? I don't think so.
00:03:22.720 I would say that the the last record,
00:03:25.040 Omens, was probably the one record that
00:03:28.560 I kind of listened to it a couple times.
00:03:30.480 I was like, "It's okay, you know, and
00:03:32.400 and moved on from it."
00:03:34.080 >> But not to me, it was safe.
00:03:36.560 >> Yeah. Okay. Safe is fine. But I I mean,
00:03:38.879 like, would you say that they have have
00:03:40.879 put out an an album that is just
00:03:42.720 objectively bad? I based on my Lamb of
00:03:45.599 God listening experience, I wouldn't say
00:03:47.200 so.
00:03:47.920 >> No, I don't think so. And like I said,
00:03:49.519 Omen's didn't keep my attention. And
00:03:51.599 this was on the heels of Lamb of God's
00:03:53.200 self-titled album in 2020,
00:03:55.840 >> which I liked, but it was again, it was
00:03:58.879 a little bit less uh aggressive, less uh
00:04:02.480 grimy. And I love Momento Mory. I think
00:04:05.920 that song is great. Um, and the record
00:04:08.640 as a whole is a solid record, but Omens
00:04:11.599 came out and I I had high expectations
00:04:14.080 and it just kind of didn't keep my
00:04:16.478 attention. And again, I think it's
00:04:18.560 because it wasn't uh as gritty.
00:04:21.519 >> Uh it wasn't as emotional and there was
00:04:23.759 a lot more emotion in this record. And I
00:04:26.880 think a lot of it has to do with what
00:04:29.199 Randy is seeing in the world and his
00:04:30.960 viewpoint.
00:04:31.840 >> Yeah. Well, uh Josh Wilbur, the
00:04:33.520 producer, has been quoted as saying that
00:04:35.120 that was the aim on this record was to
00:04:37.440 get back to a grittier, nastier, more
00:04:40.639 not unfinished, but uh unpolished maybe
00:04:43.759 vibe. And
00:04:46.160 I would say they achieved it, but they
00:04:48.240 achieved it via a polished a polished,
00:04:54.080 well produced, well put together album.
00:04:55.840 I think the songs have some nice
00:04:57.840 structure to them. Uh the performances
00:05:00.160 are really good. Um the tones chosen are
00:05:03.840 great. Uh I think that this is an album
00:05:06.479 that that benefits from cool production
00:05:09.120 tricks. Not tricks, but use of cool
00:05:11.759 tools. Uh St. Catherine's Wheel. Uh, one
00:05:14.720 of the, uh, the sixth six sixth track on
00:05:16.960 the album, you know, it starts off, they
00:05:18.880 use a filter sweep on the entire track.
00:05:20.880 So, it it starts
00:05:23.120 layman's term, it kind of sounds like
00:05:24.240 it's in the distance and then sucks up
00:05:26.800 close and the song kicks in. I love
00:05:28.880 those kind of touches and tricks. And I
00:05:32.560 think that there was enough of those on
00:05:34.639 this album to make it sound like a
00:05:36.320 polished record, but it still has that,
00:05:38.960 you know, kind of drag your fingers
00:05:40.479 through the dirt, uh, gnarly, grittiness
00:05:43.120 to it. So, if the aim was to put out a
00:05:46.479 grittier sounding record, I would say
00:05:48.479 that they have achieved that goal.
00:05:50.479 >> Absolutely. And you know, it's hookie,
00:05:52.479 it's technical, um it's riff driven, uh
00:05:55.919 and it is kind of grubby, kind of dirty.
00:05:58.479 And Randy really snarls, but he also
00:06:00.880 flies on the song Althasio.
00:06:03.840 >> Yes,
00:06:04.160 >> he was absolutely incredible. I felt a
00:06:08.479 little bit of an Allison Chains vibe
00:06:10.560 there. Um but again, it was Lamb of God,
00:06:14.240 but you could see Allison Chains maybe
00:06:17.120 playing that song, you know, with Lane
00:06:18.960 Staley back in the day. So, there's a
00:06:21.199 new sound here. There's some new
00:06:22.720 elements to the band, but it's also
00:06:25.120 familiar. It's very sacrament-like, and
00:06:27.919 even when you first kick into the album
00:06:29.840 with Into Oblivion, it screams Walk with
00:06:33.039 Me in Hell. You know, just the whole
00:06:35.360 aura of it, the the the writing, it is a
00:06:38.720 a sister. Uh, and Walk with Me in Hell
00:06:41.280 is the brother uh in that sibling
00:06:43.280 rivalry. And it's a great track. It's a
00:06:45.440 great great introduction to this record.
00:06:47.600 >> Yeah, it's a it's a great opener. Uh, I
00:06:49.360 love some of the stuff they used some uh
00:06:51.120 synths, some synth strings that they
00:06:54.000 doubled with guitars uh in the intro.
00:06:56.160 They kind of pop in and out throughout
00:06:57.360 the song. Uh, so it's a it's a rich
00:07:00.479 album. There's a lot going on. It's not,
00:07:03.280 you know, I I think a lot of people
00:07:05.120 Well, and I would say this is different.
00:07:07.599 In the past, um, a metal record was one
00:07:11.440 or two distorted guitars, a bass player,
00:07:14.240 a drummer, and a singer. And that was
00:07:16.479 kind of the formula. And metal has
00:07:18.880 definitely evolved over the last 20ish
00:07:21.680 plus years to include a lot of textural
00:07:25.360 and production layers of of tracks like
00:07:30.000 those like they used in this opener. It
00:07:32.560 really fills things out and gives things
00:07:35.599 a more I don't want to say finished but
00:07:37.280 a more finished feel. It album metal
00:07:40.240 albums anymore don't sound thin like
00:07:42.400 they used to. not production-wise, but
00:07:44.720 just the instrumentation. You know, you
00:07:46.880 can look at at an album that was
00:07:48.639 recorded in the 80s and it may have had,
00:07:52.080 you know, 10 tracks, 10 individually,
00:07:54.400 you know, audio tracks, guitars, bases,
00:07:56.240 vocals, that sort of thing. Now, you can
00:07:57.919 look at modern productions and a song
00:08:00.800 might have 60 or 70 tracks in it. So
00:08:04.560 artists are becoming their I think
00:08:05.919 they're utilizing the tools that are
00:08:07.599 available now and they're coming up with
00:08:09.919 end results that are much thicker and
00:08:12.319 richer. And for me I'd like a big crazy
00:08:15.599 thick production sound like that. That's
00:08:18.000 awesome. It it makes me very happy. And
00:08:20.400 this album into oblivion starts off by
00:08:22.800 just like yep you're going to get a
00:08:24.160 whole bucketload of cool stuff to listen
00:08:25.759 to here.
00:08:26.639 >> Well, Parasocial Christ pure um just
00:08:29.840 frenetic violence uh just over 3
00:08:32.240 minutes. Uh, very reminiscent I thought
00:08:34.880 of, um, you know, the Urgency that was
00:08:37.440 on As Palace's Burn. Um, it just is a a
00:08:41.679 hard-hitting, frenetic,
00:08:44.240 um, killer track. And, uh, I I just,
00:08:47.920 >> again, this is I knew I was in for a
00:08:49.680 good ride, you know, with this record,
00:08:51.600 and it was feeling very familiar to me.
00:08:53.839 It felt like the older material, and and
00:08:56.399 I was at this point after listening to
00:08:58.480 two tracks was hooked. Uh, sepsis. Uh,
00:09:02.959 moving on to that. Uh, Randy sounds like
00:09:06.720 just a demonic preacher with the spoken
00:09:08.959 word at the beginning. I loved it.
00:09:11.360 >> Um, and then the track itself is a
00:09:14.080 little more industrial than we've heard
00:09:15.760 from them before, which was a nice
00:09:17.040 change of pace.
00:09:17.920 >> Yeah, the first single from the album.
00:09:19.920 Um, I love that it starts off with a
00:09:23.120 John Campbell thick, sludgy, gnarly bass
00:09:26.640 intro. The track has got a ton of weight
00:09:30.240 and it's it was a standout for me as
00:09:34.800 soon as I started listening to the full
00:09:36.640 album.
00:09:37.760 >> I just wish that I could talk like
00:09:39.760 Randy, but I can't and so I won't and I
00:09:42.800 am very sorry about that. Uh, The
00:09:44.880 Killing Floor is my favorite track on
00:09:47.680 the record. It has some groove. It is
00:09:50.880 just a badass song. Uh, I did find
00:09:55.200 myself because I do a majority of my
00:09:57.040 listening in the car. I was going 85 and
00:10:00.000 a 55 listening to this. And I like
00:10:02.560 Killing Floor and I almost killed
00:10:03.920 myself. It's a great track.
00:10:05.920 >> We got to slow you down there, buddy.
00:10:07.279 It's going to get you. Uh, yeah. I I I I
00:10:10.000 too am a fan of that. Very syncopated.
00:10:12.160 It's groove uh groove based. The riffs
00:10:14.560 are tasty throughout. Great song. Uh,
00:10:17.360 Elvasio, we talked about that one
00:10:19.040 earlier. sort of a uh you know it's got
00:10:21.440 a a very different feel. Not not
00:10:25.120 completely removed from the rest of the
00:10:26.880 record, but it's it is its own track
00:10:29.680 within the context of the album. Uh very
00:10:32.480 cool and it's a it's nice. It's a bit of
00:10:34.320 respit from the rest of the assault that
00:10:37.200 is this album. It's a very cool song.
00:10:39.519 It's a perfect perfect split of two
00:10:41.839 chapters and uh I thought that it was uh
00:10:45.120 it was a nice surprise and I thought
00:10:47.600 that the the band as a whole and Randy
00:10:49.920 really really hit a home run with that
00:10:52.079 track.
00:10:52.560 >> Well, you know, we bring this up every
00:10:54.079 so often uh the the question of not
00:10:56.560 whether as a fan your favorite band has
00:10:59.360 a right to evolve and change their style
00:11:02.399 a little bit. Um, and I our answer is
00:11:05.360 always yes, that bands do have the right
00:11:08.079 to evolve and change as they grow and
00:11:10.320 their musical tastes, you know, evolve
00:11:12.560 as well and that results in maybe a
00:11:15.519 product that you don't love as much as
00:11:17.279 you used to. Um, but I think that
00:11:20.640 Elvasio is a great example of the
00:11:24.079 evolution of this band. I mean, look,
00:11:26.000 they've been around a long time. None of
00:11:27.680 these guys are getting any younger.
00:11:29.600 Randy is 55 years old,
00:11:32.000 >> you know, and
00:11:33.279 >> which is not old by any measure.
00:11:35.839 >> No, but he he is not far behind the guys
00:11:39.200 in Metallica and, you know, again, Lamb
00:11:41.920 of God hasn't been around and as
00:11:43.920 prevalent as long as, you know, the big
00:11:45.839 four. Um, but the fact that, you know,
00:11:47.839 he's 55 years old would say that he he
00:11:50.560 kicked around for a little while trying
00:11:52.560 to find his way until Lamagon finally
00:11:55.279 hit. Uh, obviously in his 30s, you know,
00:11:58.320 and and so, well, maybe late 20s, but
00:12:00.959 but, you know, late 20s, early 30s. So,
00:12:02.880 it took him a little while. And some
00:12:04.640 bands, they hit when they're teens,
00:12:06.320 which is great for them. Um, but for
00:12:08.959 him, it took a little while. So, you
00:12:10.959 know, I hope they have another 20 years
00:12:12.800 in them. We'll see how long he can
00:12:14.399 scream the way he's screaming. You're
00:12:16.160 not wrong. Uh St. Katherine's Wheel, we
00:12:18.720 touched on that one a little bit
00:12:19.760 earlier. Uh that filtered intro, I
00:12:21.920 think, is just so slick. Great
00:12:23.600 production trick. I love the tasty uh
00:12:27.120 appropriate amount of effects that was
00:12:29.519 uh that were used on the guitars here.
00:12:31.600 They bring it in a little bit, tease you
00:12:33.120 with a little bit, and then they pull it
00:12:34.560 back. You know, for uh gear guys like me
00:12:38.160 who love toys, it's really easy when you
00:12:40.639 have a cool effects pedal or, you know,
00:12:43.600 a computer's worth of plugins at your
00:12:45.680 disposal where you can do all kinds of
00:12:47.760 wild stuff with audio. And one of the
00:12:50.720 problems, one of the pitfalls with all
00:12:52.240 those cool tools is it's really easy to
00:12:54.160 overdo it. And for me, uh all those
00:12:58.160 various effects are like seasonings in
00:13:00.240 the kitchen. you know, a little bit of
00:13:02.240 this, a little bit of that is a good
00:13:03.680 thing. But you you you dump a whole
00:13:05.279 container of name your seasoning on on a
00:13:08.240 steak, man, and it's just terrible. So,
00:13:10.880 uh, again, a great use of that here in
00:13:13.760 uh St. Catherine's Wheel. Interestingly,
00:13:16.639 not my favorite song on the record, but
00:13:18.480 I love the technical stuff that went
00:13:20.320 into that song. Well, let's move on to
00:13:22.720 Blunt Force Blues. Great track, great
00:13:26.240 opening riffs in this song. I love the
00:13:28.880 unified grooves between the drums and
00:13:30.480 guitars uh in the bass, you know, where
00:13:32.000 it all comes together and they're all
00:13:33.360 playing that one thing. It's it's
00:13:34.959 awesome.
00:13:35.680 >> I love the short triplet riff
00:13:37.600 transitions. More great Lamb of God song
00:13:40.560 crafting here.
00:13:41.680 >> Yeah, this is uh as hooky as it gets. It
00:13:44.160 definitely bridges the gap, you know,
00:13:45.680 from the early 2000s to now for Lamb of
00:13:48.399 God.
00:13:48.959 >> Next up, Bully. Awesome. Uh one of the
00:13:52.959 tracks for me that really illustrates
00:13:54.720 what a great mix this album has on it.
00:13:57.600 Um,
00:13:58.800 >> there's there's a lot of sections where,
00:14:01.760 you know, like the main guitar riff will
00:14:03.199 drop out and you'll just get to hear
00:14:04.480 some of the elements underneath and, you
00:14:06.720 know, Art Cruz will come in with a
00:14:08.079 killer drum fill leading back into a a
00:14:10.240 full band section. And when I heard
00:14:12.560 those and every time I hear them, you
00:14:14.880 can re you get to hear all those drum
00:14:17.360 tones really clearly and cleanly, uh,
00:14:20.480 not within the context of the entire
00:14:22.480 band. And so I hear that stuff and I go,
00:14:24.639 damn, man. you know, the work got put in
00:14:26.800 mixing this record and really crafting
00:14:29.120 great tones for all the instruments, not
00:14:31.120 just Arts Drums. Um, but uh, yeah, that
00:14:34.720 that is another one of the standouts on
00:14:36.560 the album for me, Bully. Just a great
00:14:38.639 great track.
00:14:39.760 >> It's a ripping track. And what I noticed
00:14:41.680 on it, and I meant to me mention this on
00:14:44.160 Sepsis as well, John Campbell's Revenge,
00:14:46.240 because there's been a lot of critique
00:14:48.240 that there's not a lot of bass on Lamb
00:14:50.639 of God records, not a lot of that low
00:14:52.639 end. Um, but I I heard it on Bully. It
00:14:55.360 definitely stood out on sepsis, which is
00:14:57.120 great for him because uh and it also
00:14:59.920 addresses a a a concern, a gripe or
00:15:03.760 whatever that fans have had about Lamb
00:15:05.760 of God not having enough enough bass.
00:15:08.000 >> Well, I mean, we can go back to, you
00:15:09.680 know, Justice for All with Metallica and
00:15:11.519 people complaining about not being being
00:15:13.120 able to hear the low end on some albums.
00:15:15.839 >> And a lot of that, I think, is is
00:15:17.440 because of how a lot of bass parts are
00:15:20.399 written, especially historically. not so
00:15:22.240 much anymore because so much time has
00:15:24.800 been put into allowing bass players to
00:15:27.199 craft really great bass tones as well.
00:15:30.639 Whereas in the past, they just didn't
00:15:32.959 have as much character. And there are
00:15:34.800 old school bass players that will smack
00:15:36.240 me down for saying that. But you know
00:15:38.320 the the tech that's out there now and I
00:15:40.480 I between the tech and different types
00:15:43.920 of bass players in the last 10 15 years
00:15:47.440 they're in 20 years for that matter
00:15:49.199 probably more care goes into those bass
00:15:52.079 tones and they tend to be pushed out
00:15:53.839 front a little bit. Now, I will also say
00:15:56.240 from a producers standpoint, often when
00:15:59.519 you have to mix bass in with, you know,
00:16:03.120 big wide double or quad track guitars
00:16:06.000 that are distorted, it can be tough to
00:16:09.680 make that bass stand out in a mix. And
00:16:11.920 some producers, one of my favorites,
00:16:13.519 Nollie, a bass player and guitar player
00:16:15.360 who worked with Periphery forever, like
00:16:17.680 his thing is he looks at the guitars and
00:16:20.399 the bass in kind of like a V form. Like
00:16:22.880 you've got your guitars up here and it
00:16:24.639 all kind of comes together with the bass
00:16:26.959 down at the bottom that makes the
00:16:28.320 foundation of this singular tone between
00:16:31.199 all those instruments.
00:16:33.440 But again on this John Campbell stands
00:16:36.320 out like he's out front which is really
00:16:38.320 cool.
00:16:38.959 >> Yeah, absolutely. And and again I
00:16:41.360 appreciated that about this record as
00:16:43.279 well is that the fact of the matter is
00:16:45.199 you can hear Mr. Campbell.
00:16:47.120 >> Yep. Moving on. a thousand years. Uh, a
00:16:50.880 grower track. Uh, did I hear a cowbell
00:16:53.519 in this track?
00:16:54.320 >> And Bobby, you are right. I am being
00:16:55.759 selfish. But the LAST TIME I CHECKED, WE
00:16:58.480 DON'T HAVE A WHOLE LOT OF SONGS THAT
00:17:00.079 feature the cowbell.
00:17:01.519 >> I got to have more cowbell, baby.
00:17:03.600 >> You did. Yeah. Yeah. And more fat John
00:17:07.359 Campbell bass.
00:17:08.319 >> More fat chugga riffs. And Mark Morton
00:17:11.599 uh was kind of twisty on that. It's just
00:17:14.480 again a nice change of pace but also a
00:17:17.919 return to form for Lamb of God. It's an
00:17:20.160 just a a lovely track. I loved it. And
00:17:24.079 for the fact of the matter is it's the
00:17:25.839 end of the album. And usually in the
00:17:28.240 past with Lamb of God Records, you're
00:17:30.400 starting to get into the filler
00:17:31.679 territory. This was not filler. Well,
00:17:35.120 the the closer devis destroy is anything
00:17:39.520 but filler to me. Um the the cinematic
00:17:42.960 intro to that song does not bely what's
00:17:45.440 coming for the rest of that song, which
00:17:47.919 I think is pretty cool. It's a thrash
00:17:49.760 punk crossover to me. Um and you know,
00:17:52.720 Randy ends the song by calling the world
00:17:54.799 worthless.
00:17:56.000 >> Um his screams to close out the the the
00:17:59.280 track and the record are just vicious.
00:18:02.400 He sounds absolutely amazing on this
00:18:04.400 track. Um it's not a happy ending. And I
00:18:07.039 know that you live in Florida where
00:18:08.400 there's all those massage parlors. Um,
00:18:11.919 yeah. Well, if if I don't know, this is
00:18:14.559 a a bloody happy ending. I'll tell you
00:18:17.360 that. And um how good how it's bizarre
00:18:20.720 how good Randy is at 55. He's screaming
00:18:24.000 with the best of them. And it was just
00:18:25.600 absolutely a great way to close out the
00:18:28.720 record.
00:18:29.360 >> Mhm. A strong record. Happy to listen to
00:18:32.240 it. Happy they keep cranking out good
00:18:34.000 stuff. And uh we'll we'll see what is to
00:18:37.200 come. I would expect that this
00:18:39.520 trajectory uh this evolution of Lamb of
00:18:42.480 God will continue, you know, into their
00:18:44.880 next album albums. Um and I look forward
00:18:47.600 to see what they put out next if this is
00:18:51.360 where they are today
00:18:53.039 >> with songs like, you know, Elvasio and
00:18:55.600 uh it's a great record. I'm real real
00:18:57.760 happy to get to listen to it.
00:18:59.360 >> It's abrasive in all the right ways. Um
00:19:01.919 it to me it's a legitimate, you know,
00:19:03.840 modern classic for Lamb of God. Um, by
00:19:06.880 far their best in over a decade and um,
00:19:10.480 all I would say is keep doing what
00:19:12.000 you're doing and go back to the old
00:19:13.200 logo.
00:19:16.000 >> I say keep the new logo.
00:19:17.840 >> Well, we're in a fight.
00:19:19.440 >> Yep. That's it. This [ __ ] podcast is
00:19:21.760 over.
00:19:22.880 >> Oh, but before we end before we end this
00:19:25.760 one, we've got a couple of cool
00:19:26.960 interviews coming up. Uh, we've got
00:19:28.960 Jacob Lily from Chamber. We're going to
00:19:30.799 be chatting with soon. We're also going
00:19:32.880 to be chatting with Margarita Monae from
00:19:34.400 Edge of Paradise pretty soon. So, we'll
00:19:36.480 have some fun interviews coming out as
00:19:38.559 well as uh you know, we'll just keep uh
00:19:40.720 listening to music and and giving each
00:19:42.720 other [ __ ] about it.
00:19:43.840 >> Yeah. Well, I'm going to give you [ __ ]
00:19:45.039 because your work schedule didn't allow
00:19:47.200 us to actually interview Corrosion of
00:19:48.799 Conformity. So, that's true.
00:19:50.240 >> It's your fault. I blame you.
00:19:51.679 >> I'm sorry. It is 100% my fault that we
00:19:54.240 do not get to chat with them this week.
00:19:56.240 So, my apologies.
00:19:58.720 >> Yeah. Well, you got to pay the bills,
00:20:00.320 right?
00:20:00.880 >> Yeah. Hey, anytime you want to start uh
00:20:03.039 you know sending me checks, I'll I'll
00:20:05.200 start cutting back the day job.
00:20:08.080 >> Yeah. Well, maybe we need to find
00:20:09.840 somebody that wants to actually sponsor
00:20:11.360 us. That way,
00:20:11.919 >> country time.
00:20:13.120 >> I'm still waiting on you sons of
00:20:14.640 [ __ ] It's been 3 years now. You guys
00:20:17.600 won't answer any of my calls.
00:20:19.280 >> You know why? They don't like you.
00:20:21.280 >> It's possible. Anything's possible.
00:20:23.840 Anything's likely.
00:20:24.960 >> Yeah.
00:20:25.280 >> So,
00:20:26.240 >> all right. Well, good [ __ ] Great album.
00:20:28.080 >> Lam of God, welcome back. And we will
00:20:29.919 see you on the next one.