PipemanRadio Discusses New Album "The Program" with BRKN LOVE

0:04 Hi, you Love Lunt the censure, Wow, Crazy you Why of America. It's time for the Adventures of Pipe Man on W four C. Why do com wes Pond Beach is number one Internet radio station. Here's your host, the vipe Man. This is the pipe Man here on the Adventures pipe Man W four C Y Radio. And I'm here with Justin from Broken Love. How are you? I'm good man, How are you? I'm doing great.

0:45 My Internet's been kind of wacky today, so hopefully it won't be a pain in the ass during this interview. But but I definitely I was actually to warm up for the interview. This is my prep before an interview is listening to your newest song before the interview, to pump me up. Hey Oh Night. And it is a badass song. Anybody knows me knows I won't interviews unless I like the music. And so that's why you're here. And Man, Diamonds is a kick ass new single. Thank you, Thank you very much. So I want to talk a little bit about you know. Okay.

1:26 So that's a new single coming off of your third full length, LP, The Program Yes, which is out this month via spine Form. So that's pretty cool. But what's even cooler is. The story behind this album so to speak, you know, and what led to this album coming out. So I want you to tell me, in your own words. A little bit about the program and how that that album name even came about. Sure, well, let's see the show version of it is. I basically set up shop in Charleston, South Carolina for w ended up being a couple of weeks. Initially, was only going there because one of my best friends he moved there, and I had a lot of time off after the previous album cycle for black Box and brought all my stuff. You know, I'm sitting in front of my computer. I had monitors and microphones and guitars and all kinds of crap, and I brought it down just in case. I didn't know if I was going to actually do anything. But you know, I can't stay away from my toys for too long. So I went down there, and after a week, I mean, I'm pretty sure the first weekend I got there, we had such an unbelievable time.

2:41 He made all these friends pretty much immediately, and it turned into this kind of triumphant like journey like where I ended up just staying one more week, and one more week and one more week, and I started getting all this inspiration from these people and and this environment. I mean, I meant out of Canada, which some people may know is pretty grim and cold most of the time. So that change of scenery where it's kind of beachy, you know, it's kind of like Miami e vibes. There's like palm trees, you know, and all that kind of stuff. And it was it was in spring. So the environment just really shaped a lot of how I was feeling and kind of got me into a writing zone, should I say. And you know, I didn't realize I was writing this record until I was, basically, and I was like, hold on, I have like ten songs already, what the hell is going on? And then I realized that. I was like, oh, this is it. This is the record.

3:40 And then we called our producer, Anton Delos, and we just booked the time that summer when he, you know, he was available. And you know, the name of the record came from it actually came from my friend. He was the inspiration behind it. He kept saying things like, let's go out tonight, let's go here because it's good for the program, or don't invite those people, it's bad for the program. And it started as this kind of joke, just kind of like this like little play on life. You know. It's like a motto for how you would live your life, you know, the program. And then all these people we were hanging out with we started this text group and we called it the Program, and then we called ourselves programmers, you know, and if we were liking to go and get like spicy margaritas for lunch or whatever, we'd be like, hey, programmers, here's what we're gonna be at twelve thirty. And it kind of grew on me in a way that you know, it came out of nowhere when I was like, okay, well I'm looking for titles and I've never named a record after something that doesn't have to do with a song, you know, so I was like, man, the program. It sounds kind of ominous. It's very mysterious. It could be taken very seriously.

4:49 You know, people might be like, well that's so deep, when it's really just like a name for a fun group of people, and just you know, literally that's what we used it for. But it kind of became this cool thing, and now, you know, even with the cover art. I could see her in front of the cover art. It's like her face is falling off, you know, her head, and it's like, is that the programming inside of her life? So many things with it. And I also thought it was kind of funny to be like, hey man, throw on the program tonight. You know, we're gonna we're gonna watch the videos for the program or something. I feel like it's just a cool play on words too. So that's kind of my long, short version.

5:30 And that's why I want you to tell it because I love the story because to me, it's so organic, and I think good music has to be organic. I think the hardest thing in artist has to do is a record label says, okay, you need to make an album and it needs to be done by you know, next month. Yeah, and that's not really inspirational. It's like now, it's just like you have to go through the motions to get the job done, instead of having to create of inspiration like you did and wake up one day in all science like, oh my god, I have an album and you didn't even program it that way.

6:10 It was cool. I had never written like a destination record. I guess some people would say, like the way bands used to do, you know, you would hear stories of led Zeppelin going to this castle and what a France or something, or the Rolling Stones having like a mousti wow recording truck and just getting up and going. You know, like nowadays that doesn't really happen as much because obviously after budget like half of what they used to be. But also it was just it was just kind of circumstantial the way it all played out. Like, you know, I remember one time I was writing this just one song on the record called Shades of You, and I remember we came back from a club and it was like four in the morning and I was like, you know, pretty drunk on a bed with a bass and I was just like playing this riff and I was like, oh, that's pretty cool. You know. I would record stuff like that because, like you said, when there was no parameters, there wasn't like a set deadline from the label being like you have to do this now, you have to do it by at this point, you know, and this is how we want it to sound. I was kind of free to make a record out of my own validity.

7:14 I actually ended up telling everybody at the label or telling our team like, hey, I'm ready to make a record, so I got it. You know, it happened much more naturally, whereas in the past I haven't had that experience as much. Before it was like, we need the record by now. They never told me what we wanted it to sound. I'm very lucky in that regard. I've never had too many hands or too many cooks. That's good, you know, So that's that's pretty rare. I'm against that. So that's cool because like, all right, I have nothing wrong with business people. I have a problem with business people telling creative people how to be creative, sure, just like they don't want the creatives to tell them how to run business. Of course. And you know, in the music industry, as you know, like everybody's everybody has to say something about something.

7:58 Everybody has to get there saying everybody's got their own ego, and you know they I'm not gonna knock anybody, but it's it's funny when non musicians try to tell musicians how to make music. It's like, I understand if there's a business aspect to it, but I would never dare tell, like, you know, an engineer how to build a car or something. Right, And I am in awe of songwriters Like, Okay, so I'm a writer, but I write books. And I wrote one song with my bro who was a musician, and it was pretty funny because I brought him the song. He's like, what the fuck is this a book? Yeah? And I said to him, I'm like, yeah, listen, they like I am that type of writer. I'm coming to you because you'll be able to turn this into a song. Yeah, because I won't be able to eliminate.

8:52 A of it. Because he started with, you know, okay, can we take this out? No, that's really important, Like everything was important. But I think a song comes from you put a bunch of thought, but then you really have to like narrow it down and get risk stuff, which is I find I have a lot of offer you know, artists, because that must be so hard because it's all like your babies, and you have to get rid of some of it. You can't like it can't be everything you know. Yeah, of course, I mean you gotta be you can't be super precious about everything you know. And also I think in part a lot of what you're describing to a lot of that kind of falls on a great producer to sort of mitigate the you know, the clutter of it all. You know, of course, when you're the one making it, you know, you're too connected, maybe you can't see things objectively.

9:46 So exactly. I think that's why it's important to have a really, really great producer, which we do, and he is very detrimental and quite literally instrumental to the project and really really helped kind of declutter a lot of that stuff and refine things. You know. Well, that's why I think it's cool like you brought that up, because like in this scenario, you had. Like a collective of people that. Were strangers, yeah, that you were getting the feedback from. And I think that's way cool because it's kind of hard to step outside yourself, and it's kind of hard to get people, you know, to give you the honest opinion. So strangers will be right out, they'll tell you straight out what they think.

10:27 Absolutely, this is what I've been saying. You know, you've done a couple of these people keep bringing this out. It's like it's way harder to tell your close friend how you really feel without hurting their feelings. Right, there's no skin in the game between me and said person, I just spent it. Yeah, we might like each other. We're hanging out, we're having a good time, but like there's not like years and years of emotional dependence on each other, you know, so, which is much unlike you know, my best friend that I was staying with, because if you gave me criticism, it's like you got to be careful what you say to me because you know, I'm sensitive when. It comes to him. But right exactly, you know, but this person or that person whatever that we just kind of kind of came into the fold. They could be more objective. And also it goes both ways, like I could tell them how I feel and they can tell me how I feel, and there's like no hard feelings basically because of that.

11:23 Yeah, absolutely, you know. And it's not taken the same way as it's as if it's from your best friend. Yeah, you know, it's like your mom telling you she's disappointed in you versus like your boss. It's like way more when it's your. Mother, no doubt, you know, absolutely. And I have to laugh too because you were talking about, you know, the program before, and you're talking about like like people not not like wondering what it is. And I sit there when you were saying that, I was thinking myself. Man, in the world that we live in right now, I could almost guarantee you most people, if you didn't tell them what it was, they probably all think it's some political conspiracy.

12:09 Yeah, that's the thing. You can kind of go so many ways, like what is the program? It's like are we broken love joined the illuminati? You know, right? Or it could be like, oh, are you part of a program to make Canada to fifty first state? You never know these days, you know. So I think it's it's precisely because of that is why I was chosen. It's very ominous. It's what does it mean? Man? You know? And here I am telling you what it means to us. But people will make up their. Own absolutely, And I think the best even with songs, I think the best songs there's a serious meaning to you, artist, but there's a different meaning for every person listening to it.

12:52 And if you can appeal to everybody and yourself, then it's a good song. Yeah. Absolutely, you know. I mean, you know you say you write books like you if you're a writer, you understand that you can you can mean or intentionally write things a certain way with a certain type of meaning behind it. But people are always going to take away their own their own meetings to everything, you know. Yeah, just look at texting, Like how many times do people get into arguments over texting because there's no talent and tonality, so it's misunderstood. I definitely struggle with that. That's why I'm get on the phone. You got to you gotta hear the inflections in my voice.

13:33 See, I love hearing that because there's so many people nowadays that won't get on the phone. And some things, like even in in work work stuff, like people email me and I'll and if it's something that's not like a simple yes now, I'll call them up and they're like, what's marr. You don't use email. I'm like, yeah, I use it plenty, but your question. Requires a verbal response period, Right, Yeah, I feel you. I mean, I'm also I mean, I'm I'm twenty seven and a lot of people in my generation and younger. I have four younger siblings as well. It's like I was kind of one of the last generations of people that like kind of made it right before everything went super digital, you know, right, like we still have flip phones, you know, and no Instagram like when we were in high school for a while, you know. But like it's kind of funny to see how much it's changed, especially with my younger siblings. It's like you have to text all the time, where it's it always surprises people when I'm like, no, you just got to call me. I mean, my friends even know, they just come and walk into my house, you know, like if you want to get hold of me, you can just come over, you know.

14:43 And there's some people I know they'll never answer their phone ever because they just want you to text them or you know. I love what you're saying too, because one thing trips me out as somebody that is older, that lived in time where there was no cell phones and no internet and none of that. And if you wanted to get a girl in high school, you said, on the phone with them all night long. Yeah yeah. Yeah. The women I meet now, whether they're in your age group or my age group or anywhere in between, none of them like to talk on the phone. And it blows my mind because that's that's how I grew up, as like the guys didn't want to talk on the phone.

15:24 But if you wanted to get the girl. That's what you had to do. Well. A lot of people actually get scared now if you call them it's like almost too strong. It's like putting too yeah, like too it's too forward almost, which is like I feel like a lot of people are just as scared of a they're scared of accountability nowadays, because if you're talking real time, you might make some mistakes like right they ed you know, text thing and now you never really I think things move a lot slower because of that, and uh, I just prefer to be direct. And it's kind of like a mantra even across everything from who I am and into the music that we make. It's like we're not a like a we haven't embraced a lot of the modern technology, should I say as a band. I mean we still record live like we love that these things. You know, there's no some of our songs. If you put up a click track like it will move you know what I mean.

16:19 There's no tracks when we play live like we we do everything like authentic. You know. I love that. It seems like it's making a comeback to real musicianship. You know, it almost seems like because there's a few bands like you that they're kind of in that mode. And I'm happy about it because I gotta tell you some bands I see nowadays it's like, are you using an algebraic equation to write your songs? Right? Yeah? Everything has just become so much more. There's just so many corners you can cut nowadays with all the technology. And I'm not knocking on it. You know, there's so many ways things have gotten easier because of it. Like certainly the the the advantage of using in years live.

17:05 Now practically it's practically the standard has changed the game in terms of like safety and being able to hear yourself and all that kind of stuff, and ant modeling and all that kind of stuff is like gotten rid of the need to lug around gear. Now we still use real lamps, you know, out of principle. But you know, it kind of makes everything sound the same to me when everybody's using the same software, the same plugins, the same and then now people I actually saw I think it was an article maybe in a loud Wire or something the other day there was a certain singer from a metal band that was like, you know, we're going to try to go back to being more raw. We're going to try to strip back so much of this heavy, heavy production because you know, it used to be that rock musicians or rock fans had such pride in rock because they were like, it's real music. It's right, it's like real musicians, you know, the playing. But with a lot of people be able to realize is at this point in time, a lot of the favorite rock bands are just as produced and just as slick and you know, as your big pop stars. You know, everything is be detected.

18:12 The drums are basically all fake, you know, the vocals are autotuned to hell. Like that's kind of the standard you know nowadays with modern production, and it kind of sucks a lot of a life out of so much of it, you know, which is maybe why I think our band kind of shines through. I don't think we're reinventing the wheel here, but I think just based off the fact that we don't kind of adhere to these modern principles, like we stand out because we're just not. Do you think it's more like you're bringing back the wheel? You know, yeah, maybe, and there's a few bands that are doing it for sure, but you still don't you know, like I don't want to make a record that sounds like Zeppelin too. I love it, you know, but that's still like a little too dated obviously, Like obviously the more low end now and you can get a little more clarity out of things and whatever, you know, but there's a fine line that you can walk where where it can easily become very like homogenized and very just like h dynamically, very very static, you know, and uh, we're not. We're not like that. I mean, I want people to hear the record and see us live and go, oh, that's actually what they sound like right now.

19:30 Going back to what you originally said about, you know, like going to a destination, I think that's part of what made bands like Zeppelin, the Beatles and all that great. It is not necessarily the destination, but the fact that every album was different. Yeah, yeah, for sure, you know variety now and it's to find. That, no doubt. Even some of my favorite bands, like I loved their first couple albums and then everything after that was just like just just going through the motions. There's nothing there, you know. It Sometimes it bothers me when some of my favorite I guess quote unquote legacy bands start putting out new records and they've kind of adopted that modern production kind of style, and I'm like, oh, now they've kind of just now they just sound like everybody else. Right, it goes deeper than that, man. I mean, it's like they all have the same producer, they all have the same mixers, they have the same engineers. They're you know, the same songwriters that are writing a lot of these songs too.

20:30 So it's like this little world, you know, especially that's kind of like monopolized the whole thing. And now all these bands you know that are in the top ten at any given time, most of the time, it's the same group of guys that are that are working on it behind the scenes, which is why it sounds that way. And you know, we kind of do everything ourselves. We're kind of more self sufficient. I write most of the songs. Me and my producer aunt Tommy write a lot of songs together, and we try and you know, and break free from the and yeah, some some people call us like a classic rock sounding band, and I don't think that's true because I don't think we sound like a CDC or Aerosmith or anything.

21:12 And I don't think so either like, listen to your music, I think it sounds fresh. Well, thank you, I appreciate that. You know. It's like, because I'm with you, somebody that's been listening to music for my whole life. Like there's a lot of bands nowadays, I'm just like, yeah, that just sounds like every other band. And to your point, you know, people don't think of that. If every band's using the same producer, of course it's going to sound the same because that producer has their way and they're you know, their their mark. You know that that you recognize. And if you go back to even the eighties, Okay, the metal bands as an example, in the eighties didn't all sound the same.

22:00 Not even close. Yeah, And now, like I used to be the type when the older generation would say it all sounds the same, I'd be like, you don't know what you're talking about. Yeah, and Fracts doesn't sound anything like Slayer. Sorry, you know, and maybe it does to them, but in reality it doesn't. However, you could name five metal bands right now that all sound exactly the same. I mean, you know, you're preaching at the choir, Like I have a few friends that are into a lot of the super modern metal, hard rock stuff. It's not particularly my thing. I mean sometimes I find things that I enjoy, but it's like I'm kind of over a lot of the kind of like genty sort of overly heavy things, like how much heavier can we get? You know, especially again with modern production, you could you could detune your guitar with a plug in, like a full two octaves down if you want, you know. And it's just at that point it's not even like notes to me right now. It just and it's cool. It's heavy listen.

23:01 I know, I understand why people enjoy it and you can mosh around and have a good time to it. But like especially with rock radio, and I mean maybe more so in America than Canada, Like a lot of the modern rock on radio in America is like kind of just metal, you know. I know, it's weird. It's weird to me as I grew up at a time where the metal bands I like, I like them because they didn't play on the radio. So it's like really weird to me that a metal band should have radio music. It's like this weird turn like active rock. You know that people, It's like it's kind of just it's like radio metal is what I like to call it, you know.

23:45 And no, I guess in a way I see it as like a modern version of like hair metal or something, because I understand, you know, Rat and Motley Crue and all this that was metal in a way. You know, it was certainly heavier than like thirty eight Special or like ariop Wagon or something like that. You know. But I'm kind of getting a little exhausted with that kind of thing. And it's funny too, how growing up metal core was kind of like really bustling when I was younger, Like that was a lot of what was popular when in terms of like modern rock when I was like an early teen or something like that. How it's all kind of coming back, you know, like everything's kind of cyclical in that sense. And now it's like we're back to metalcore and and the gent thing kind of and you know, I mean, I'm not saying again that we're reinventing the wheel. Some would say, Okay, we're just like kind of like Worldblood or like you know, Jack Whitey or you know, I've heard I've heard it all, you know, But there's something about really a real band playing that I think you.

24:56 Know, one hund. You know, listen, hate to throw shade and I won't say who, but if you're going to cancel a gig because you don't have your laptop. Yeah, it's ridiculous. Yeah, I mean, like play. I come from a time where David Lee Roth was up on stage forgot the words, ain't talking about love, screamed the three hundred thousand people, I fucking forgot the words and they all cheered. Yeah, like that happens at our shows. It's like, that's that's part of the experience, you know, doubt, no doubt.

25:37 The basic prerequisite to be a professional musician is you could play your songs, you know exactly, you know, I understand I have to be sympathetic to a lot of bands that Like, again, with modern production, the way it's afforded us to basically layer one hundred tracks on a song, you might want to go crazy and make your song sound as big as possible, and then, you know, because of budget reasons, you don't want to hire a third guitar player, or hire a keyboard guy, or hire a percussionist or whatever. Like I understand it. I'm sympathetic to the to the you know that claim or that that way of playing. But I'm just kind of sick of like producer music, you know, sound like bands anymore. It sounds like a producer, like much like the pop world where a producer builds a track and then you know, the singer comes and they write a song or add some vocals to it. But like everything in pop is very producer based, and rock has kind of become.

26:32 That, you know, totally and look at it here in radio podcasting. It's like I tell my clients that do shows on our station, It's like, yeah, get ready your script, get rid over production, just get on there and have conversations because that's what people want. Yeah, it's real and it comes through. It's like especially live, you know, because I personally believe that if you're going to play shows and you're just going to play the record through the tracks, you know, you're kind of ripping people off. There used to be a time where I'm sure you you know, like back in the day, like you would lose your whole career over getting caught, you know, if you were lip syncing or something like that.

27:17 Perfect example. You know, nowadays, not only is it the standard, it's encouraged. Oh my God, it's like they. Would almost prefer you to do that. It just becomes so so commonplace that we've kind of forgotten about the idea of just playing, you know. And I couldn't tell you how many tours we've been on. We're the only band that doesn't play the tracks, you know. And uh, it's kind of disappointing in a way because I don't want to fake it. I don't want to give, you know, people a inauthentic experience. I want people to get their money's worth, you know. I want them to have a real experience that's that's unique to that night, you know, Whereas when you see it five nights in a and they're just playing tracks every single night, it's the same thing every single night, you know, of last they're not playing right.

28:07 And you know, it's funny because I do. I go on tour and I do coverage at radio festival, at music festivals all over the US, UK and Europe, and you know, it's interesting, even the bands that I love, I'll be at a festival at the end of festival season and I've seen the band like ten times already, and I'm predicting what they're gonna I'm saying what they're gonna say in between songs. It's like that scripted. Yeah, And like you gotta give credit to bands like The Grateful Dead that never had the same set ever and they just played, you know, and and whatever happened happened.

28:48 And I got to think, as a musician, that's gotta be a lot more fun than doing the same shit every night. That's why I give credit to Bring Me to Rise. And you were mentioning Melchor. I was thinking about that because they got a lot of shade right now for switching up their music. But like I give them kudos. Listen, you're experimenting doing you as an artist, and you're going in all different areas and hey, to me, that's what it should be. And Allie said in an interview, why do I want to write the same song over and over again? Absolutely? It's it's I don't think there's any wrong with that at all. Like we should progress as artists. And you know, I'm sitting here, I have a candle of prints right here, and it's like, what better example of a guy that just kept reinventing himself. Every single record is completely different, and you're building a body of work.

29:37 You know, it's like, if people want to listen to that version of your band, they can. You know, I don't think it's alienating your audience. I think you're just only a guy like Bowie or something like that. It's like these people were just pushing the envelope again and again and again. Now I me it was to say, you know, a band like ACDC, some would say have been putting out the same records for thirty or forty years, but there's only a few of those that could just get away with it, and it's just right a single time, you know, like I don't want a CDC to change every time I hear an ACDC song. You know, they put out a few records since I've been a kid, it's always fucking awesome. Yeah, that's a difference, so they can pull it off. And then you know, you take artists that you know, bands want to hold on to their first albums.

30:22 You know, the fans want them to. Stay that way, but what good artists would want to stay a beginner? Absolutely, and it's kind of why you know, our third record sounds a little different than our first two, Like I don't want to keep doing the same thing. You know, we were experimenting with like more R and B elements and funk and even a little poppy at times. Like it was just it had to do something. And I feel like it's your duty as an artist to not give the people exactly the same thing every single time. Like, if you want to listen to this era of Broken Love, you can, but the third record especially has to be different. You have to get a little more muitious. You know, and you have to you have to get better at your craft, Like why would you not want to get better and then getting better your music is going to change because you know what you're doing more.

31:12 Yeah, I mean, you know, everybody I think at the time was shocked when like nineteen eighty four came out with you know, Van Halen. You know, there's all of a sudden, there's like keyboards and shit, you. Know, but rush rush. Yeah, rush start a keyboard era, you. Know, right, And you know, I hate to say it, I am one of those people that I didn't like when they went to that, but I do give them credit for going to that because you can't stay raw forever. If you're that kind of musician and you know, listen, of course you want to experiment if you're an artist, that's the whole key. I think, Yeah, I mean you have every right to and I don't think I don't think you should consider, you know, what people want or expect from you as an artist's I have to walk, I think definitely, Like you don't want to disappoint people, for sure, but like, if you're considering what the audience is expecting from you all the time, then you're not making the music for yourself anymore.

32:13 And it's that and they'll see it. It's transparent in my opinion. How could you get up on stage every single night and sing songs you don't believe in, Like, if you believe in it, it'll come through. And maybe you're you know, you're fans of your previous stuff won't come along with you, but you might make new fans because of that change. And they'll come back. And I'm I'm a perfect example that who went to Metallica's first show ever and when the Black album came out, I was like, fucking poser, sellouts and fuck you And they're still my favorite band all these years later, one of my favorite band, and they've built a huge catalog. It's like you know. One of the advantages of listening stuff. Basically, you know, by the time I started getting into all these old rock bands, their careers were not over, but they just stopped putting out new albums. Is I can then go back and go, Okay, I added these twenty records.

33:04 I like these ones, you know, and I'm still play for life. I'll still see them every single time they come around. But I know, when I'm listening with Alica, I like Master Puppets, Ride the Lightning, you know, and Justice for All is like my era, you know, yeah, or like I know with Kiss, I'm a huge Kiss fan. I like seventies Kiss era, you know, and then I like Revenge in the nineties, you know, like you. Can like I remember I was a huge Kiss fanatic, and I remember when Dynasty came out, and I'm like, what the hell because they were like the anti disco band and now they were disco and you know, but. People loved it, you know. And that's the point.

33:45 It's like, sometimes your fan base will change, but the old school people will still be your fan base, even if they act like jerk offs like I did with Metallica. When you know, you come back, but you can't just always appeal to your garage fans. And and you know, nowadays two more than ever, people and listeners and musicians are just way less precious about genre anymore. I love that. It's amazing. Yeah, it's amazing now because, like like you said, back in the day, when Kiss put out Dynasty, it was like a shot in the foot or you know, or sorry, I just a shot in the face of like every rock fan. How the fuck did they go? Disco this, this and that and the other. Nowadays bands are doing I mean, look at the like a band like sleep Token or yeah, like if you know, Hardy is like guys like that, It's like, what is how do you even describe this? And that's kind of what's amazing about it, you know, you could like I was just listening to a podcast with Wolfgang van Halen and Billy Corgan and Wolfgang and Billy Corgan joked about like opening for Taylor Swift and Wolfgang was like, actually I like Taylor Swift and it's like you can just do that now. It's not nobody gets mad.

34:56 Oh yeah, and I come from the time and a gate keeping bullshit, and it's like it was so finite like I was a thrash metal head. You can't listen to anything else. That's it, you know, and it's such just a stupid I've interviewed people nowadays that I was fans of in the eighties, but I never admitted it, and so I'm like, I tell them on the interview now, I'm like, you know, I'm glad I could admit now that I really liked you, because that fucking gate keeper shit was bull Okay, it's bullshit. And you know, there's two types of music, good. And bad, right exactly. So it doesn't really matter what you like. I don't think people should be afraid or embarrassed or you know, to try things that are new or get into things that aren't normally in their world. I think when I was younger, I was definitely more closed minded, and I was like, it has to be rock. It's always got to be rock, but it has to be old rock because new rock is not real rock, you know, right, I am probably twenty years after I started listening to rock music, you know, making modern rock music, and now on this record, even additing some disco flavor or like some flavor that I never thought I would do, you know, when I was a kid. But you know, the possibilities are endless nowadays and people are receptive to it. So it's it's a it's actually a really really great time to be a musician in a lot of ways.

36:13 Well that's the program, right, So tell everybody how they can reach out to you guys on socials, on the web, how they can get the new album and tour dates and all that good stuff. Well, you know, we're on Instagram and Facebook and Twitter x whatever you want to call it. It's all just at Broken Love Music. Our website is just Brokenlove dot com. Everything is on there as well. We're on Spotify, Apple Music, anyway. You can find music where they are. We're on YouTube. You put in broken Love, you spell it the way we spell it. Be ourcad very stupid, but we're kind of committed to it. Now you'll find us, So just keep an eye in and ear out, and now you know, maybe we'll come. We'll come to a to a city near you at some point.

36:58 Nice. Any other last words you want to share with the listeners. Thanks for listening to me yapp for a while. I appreciate being here. If you're a fan of the band, thank you for sticking around and be impatient with us while we're you know, it's been a while since you put up some music and uh, you know, stay true to yourself. Don't let anybody tell you what to do. Who cares that, and stick with the program. Stick with the program. Stick with the program, no doubt. And it is it is. It was worth the wait. So everybody, definitely you have to get the album one of Drops because it is definitely worth the wait. It is the program for your life, So get the album.

37:40 Thanks a lot for making us great music and thanks for being on the Adventures pipe Man. Thanks for having me. Thank you, Thank you for listening to the Adventures of Pipe Man on w for CUI Radio