Don of the Dead of Nunslaughter at Milwaukee Metal Fest - PipemanRadio Interview

0:04 Hi, you have done too, Yes, that's true. For see wow, for you young. This is the pipe Man here on the Adventures of Pipe Man W four c Y Radio. And I'm here with uh Donna the Dead from Nunslaughter. How you doing? Oh? Doing amazing? How could it be bad? We're here at Milwaukee Metal Fest. A lot of good bands, Oh my god. Like so, I do a lot of festivals. This is the first time I've done this one because it always conflicts with another. And the only year that I really didn't, I had COVID, so I was super excited to come to this one, and being a total thresh metal head, this was the one to go to.

0:50 The Death Angel and Violence and I. Raight and Insight and like the list goes on, it's it's fucking. Go or yeah, absolutely, we're you here? Last night? Did you see no jostin Friends? No, but I watched some of the videos that people posted online. It looked like a good time. We had about a seven eight hour drive in yesterday from Cleveland, Ohio. So when we got in everybody was wicked hungry and it was kind of tired. So we we went we ate some pizza night and then and when we went back to the hotel room. We were kind of just everybody's relaxing, and then somebody was like, I. Was like, God, damn it, that thing's going on. We should go, and I'm like, ah, I'm not going anywhere.

1:32 You know, I feel I'm too comfortable. Oh I hear you, man. But it was cool because on that fresh note, he had the dude from High Rex come out and who sang lesson in Violence. Oh well yeah right, and then Dukes came out and sang bonded in Blood by Blood. Oh that's cooy. I didn't know he was here. Yeah, very cool. I don't even Oh yeah, he's playing in another band here. Oh I got which one these? I didn't know that. I'm like, I forgot which one he's in, which sounds fucking horrible, but you know, like he like Exos is one of my favorite bands ever. I used to like I was in La Medal. My dad. He came up to me at thirteen years old. I'm from Jersey. He's like, pack your bags were moving to California in three days.

2:19 That was nineteen eighty wow. And so I caught Metallica's first show, got their first show ever, and then they ditched us and went up to a Bay area. So me and my bro would hitchhike up to the Bay Area and then we'd catch the real metal shows. Yeah, you know, because La became a kind of lane. Well that was glam you kind of took over. And oh I saw a striper open for Slayer. How weird is that in La? In La? Wow, that's why both Metallica and Slayer left is because there was nobody they could play with, you know, yeah, either played with the glam bands or not at all. Yeah, so they felt right out and or San.

3:00 Francisco had uh possessed and Testament was happening and Dark. Angel, Dark Angel, Death Angel, and like there were so many yeah, you know, and we might not be standing here today if that didn't happen, because if Metallica didn't go up, there being no Cliff Burton, yeah, and no Kirk Hammond in Metallica because he was Exodus. Yeah that's wild. So tell us how you got the call from Jamie or whoever to come to this. So we actually we played uh Milwaukee Metalfest I think three years either three or four years ago, and it went over really well, and you know, uh we're just going about our business. But just recently we had uh changed over to a label, Black to Black, kind of a new label on the on the block. And uh, you know they obviously they got some heavy hitters with Maggie Death.

3:57 You may hear of that band a little bit. And uh and I get Crowmags and Forbidden, you know, speaking of so great one. So Mike Getter, who signed us or helped sign us, he's good friends with Jamie because he he signed him to Roadrunner Records many many years ago, and so they've been friends. And he mentioned, hey, I just signed Nunslaughter, you know, would you be interested in having him on the on the fast And then so he got in touch with our booking agent and whatnot. And and here we are here, you. Are, yeah, here, we are going to kick some ass here. I hope. So. Yeah, if I'm getting tired, I got here at nine thirty am. Yeah, I have a feeling though. Once you get up on stage.

4:39 Yeah, adrenaline, you won't be tired. After your get off stage, You'll be like, oh fuck. And the big thing is going up and down all these stairs. I know, right, I should have done training before I Oh. Yeah, my bag here, Like the thing weighs like fifty pounds and I'm carrying. Everywhere, Like, I see why you want to do these interviews in the basement, because you like, I'm already down here. I don't want to If I should have said, meet me in. At the upper floor, right right, seven staircases to get up there, and I. Never imagined because I was never at this venue, and I'm like, holy shit, there's so much here. Most venues don't have like that many stages and places. And it's like, and listen, we get bands going on right now, and it's it's relatively quiet down here, you know, which is nice that it's that. I mean, this has got to be I don't know when this was built, probably at least one hundred years ago, so this is all concrete.

5:30 And heavy beams and stuff like that. So so what was that one moment in life that you knew this is what you had to do. I don't know if it was. One one necessarily a moment, but it was a gradual progression where I started going to live shows. And my first live show was eighty four or Ozzie Barked the Moon Tour with the Motley Crue and wasted. And I was already a fan of music, heavy metal and you know, Iron Maiden and Judas Priests and whatnot, and obviously Black Sabbath and following The mad Man That Bites Bat and everything, but going to see him live, I was really blown away.

6:20 And I was a big fan of Motley Crue at that era of Motley Crue, which was a shot at the Devil Tour, and so. Going to that show, I was just like, I was. Like this the just the energy and the excitement that the of the crowd. But then what the band gave me, you know, as as a kid, just like a lot of adrenaline. So that was probably what started my. Desire to be more involved in music, and then it kind of just really absorbed my entire life. Like that's I'm there's a bunch of eighties movies about kids sitting in a class a math or history and on their uh you know, their noe foulder on the Peachy folder and drawn Slayer and Metallica and you know, and a dozen other logos and uh do you still have one?

7:22 You mean like you mean like this. Yeah, yeah, that's my eighties Why battle this? Yeah? Yeah, I drew a lot, Yeah, because there was nobody had patches or shit, so you had to draw it on there. Yes, Slayer exactly, Slayer didn't have a patch, so I did the made one felt or felt things. And in La they thought I was a gang begger and that was my gang name. Yeah, and the old Exodus logo. That's awesome, and yeah dark Angel, Yeah, absolutely Lake, And I drew all the shit on here. As you can see, it's been through some wars, you know. Yeah, and it's got blood on it too. But that's that's what That's what you did in the eighties because you didn't have nobody you can get ahold of a man of War shirt or whatever, so you had to make one.

8:04 Yeah, did your thing. But that's that was me. I was very very you know, and drawing it on your notebooks and had my skateboard and go out and cause havoc and throw rocks at stuff and. There you go in the metal. That's what I was doing. I think that's still my life now. In fact, you know, it's funny. I just did Welcome to Rockville recently, and that's at the Daytona International Speedway. So I bring my skateboard with me because I live in South Florida, so I just drive up. Yeah, and I asked the person at ran Media. I'm like, hey, if I go take my skateboard and ride the wall, well I get my credentials pulled. And I knew the answer because I'm friends with her. She's like, yeah, bro, okay, I'll wait till the end of the festival, you know, but yeah, I mean it's funny we have similar stories different years. First of all, I ask you, I'll tell you something you probably didn't know. Shout at the Devil was the original music, not Too Fast for Love. Shout at the Devil was what they originally played in the clubs before the record labels got to them. Huh, So they made them write Too Fast for Love, and then once Motley Crue got big, then they were able to do that album. Yeah, and you know, my so nineteen eighty, my dad walks up to me says, we're moving to California in three days.

9:27 My first club show, ever club show was Motley Crue at the Roxy on the Sunset Strip, before they had an album. Yeah, that'd be like a legendary. They were like, they were horror punk at the time, and they played that shout out to Devil music and they were lighting the place on fire, trying to bring Satan into the roxy. I walked out that show. I'm like, I'm never going to a real concert ever again. And after that, I spent every Friday and Saturday night at either the Troubadour, the country Club in Resieda or a a million other metal clubs on the Strip or in La and Slayers first show, Metallica's first show. You mentioned Megadeth, Dave Mustaine came up to me. I was thirteen years old after playing that first Metallica show. In Hamsbian's business card, it said Metallica Power Metal. Dave Mustaine was thrashed in the Yeah.

10:20 Yeah, exactly. Yeah. A lot of time people don't realize some of the terminology didn't exist. No, you know we had with washing didn't exist. I think Anthrax made that up. I think it was originally slam dancing. Slam dancing, yeah. You know, and I still call it that because Machhing's like, I called that too, but I'm like, yeah, but it really slam dancing makes sense. You know, you're into each other, you know, well, you were very much right place, right time. I mean unbelievable. I was pissed at my dad, but now I thank them, you. Know, because you were I don't want to go. I don't know anybody out there to fucking California, you know, and you're from You're from the East Coast, Like, who the fuck wants to. Go over there?

11:00 But you and I wouldn't be sitting here right now if that didn't happen. Oh yeah, that's true. Yeah, And that is the key. Like you caught a beginning of it too, that it's kind of like an addiction. It just draws you in this metal and like there's just something about the therapy of metal, you know, and the therapy of demosh bit. People think demash Bit is violence. It's not violence, it's fucking therapy. Yeah. So I'll get violent on people out in the streets. Yeah, especially well certainly not anymore. I'm not hopping in the pit. But there were many many shows, and in fact, Sean from Violence I was telling him. We played a small run with him back in February. It was the first time I actually met him, and I said, this will be the second time I've ever seen violence, And he said, when was the first?

11:53 And I says, I think it was. Nineteen eighty seven or nineteen eighty eight in Pittsburgh at City Limits and he's like, oh, yeah, I remember that show. So I said, you know, you don't screw up. I didn't say that, but yeah, and they sounded they sounded great, and uh, the band sounds great too. But it was one of those where that's all long ago, and same with like Death Angels playing tonight and the last time, the first time I ever saw them was on Ultra Violence Tour, which would have been eighty six eighty seven, right around that era. And uh, I was a as a young kid. I was just blown away that they they were only like a year or two older than me when they were playing that that music, and I was just like, I can't play shit.

12:37 So I needed you know, they were great. I talked about this with Sean earlier, you know, during an interview, is like, it's so cool nowadays, Like I bring my kids and my grandkids and I've put my son in his first mash bit. I put my grandkids and more grandsons in their first mash bits. Wow, and now you go you go back. Okay, So Metallica and Slayer they were only a couple of years older than me. I've my dad would have never gone to those shows. My dad always say when my friend's going, oh look it's the Motley Crew, like you know, and you also a teenager at that time. You had never gone to see a bunch of sixty year olds play music. So it's so cool now when I see kids out there that they're looking at bands like you or Violence or any of these bands.

13:27 We're going crazy for high Recks. They were totally and I'm like, I got two years looking cool man. It's like, you know, that's where we've come. That I think is really cool about our community, that it's one big family and now it includes everybody. It didn't include everybody back then. No, Yeah, that's true. You know I talk about we were talking. I was talking about this with Sean too. Like I'd liked GBH, Discharge Circle Jerks, Dead Caddies. I couldn't go to their shows back then. I was along there get my ass beat. I would just get I went, and I did get my my ass beat quite a few times, especially like I went to see uh Agnostic Front. Yeah that was actually on the second record. It was a cause.

14:13 For alarm that would definitely be an ass beating the show and uh. Yeah, and I but I was, I was. I didn't expect. I was just going because it was I loved the music, you know, and they did a bunch of victim and pain stuff. But uh I got somebody got a couple of punches in, you know, in my face and what else. I mean, I did go to see I saw uh gb H and Discharge and this is the eighties as well. Uh I got shoved around quite a bit, but I still had to go to the show. I mean, I wasn't not going to go to the show. So yeah, but all that, all that where I was getting at or where I was going with is all that punk stuff is what I gravitated to as well, if not just as much, if not more than the metal stuff because where where I was at, the metal s was really small in Pittsburgh in the mid eighties, but the punk scene was strong and and so.

15:08 That's the ghost thing too, because like you know, you had the New York hardcore and like East Coast was big into hardcore and punk, and I think metal came a little later type of thing from what I know, you know, But yeah, I mean it's cool. We're one big, happy family now. When you know, while I was in high school, like the jocks used to pick on boy and beat the shit out of us, both punks and metal heads. I always thought, why aren't we banding together? Instead we're beating the shit of each other. It's fucking stupid, yeah, you know, But now here we are, and it's just such a mish mash of everything, which I love and blending of genres. And I think that's so important today too, because there's so many subgenres and micro genres that it makes it like they do sound the same nowadays unless you have bands that blend it, like you bring into it punk and metal and you blend and it's a unique sound.

16:05 Thank you. Yeah, I think I think you miss everybody else, you know. So tell us about the new album. At Satanic Cast Legions. We took it's been sitting. It's taken about a year and a half from completion to actually get it out. It's coming out of June twenty sixth here and it it didn't take as long to write, but the mixing process and reviewing the songs and getting them to where we wanted that took a little bit of a process, and then of course looking for another label that was another long process. And you know, some people say, you know, the album's already a.

16:46 Year and a half hole. It so hasn't even come out yet. It's not stale or anything, it's just it took that long for the progression to happen, especially when you signed to a new label. They've got ways of putting out music that you know, it has to build anticipation for it. So but our our guitar player, who he's been with the band first, has got to be for thirteen or fourteen years. He went on a tour with us. He was just going to be a guitar player on tour, and we went on tour in Europe and when we came back it went, it went over so well that we asked him to join and he's so he's been, he's been in the band, and his background is largely punk rock as well, so like Poison Ideas, Circle Jerks and you know, Cramps and Crowmags and Dead Kennedy's and so that helps when he's writing a song or constructing a song, because that we have that same sensibilities of how the song is supposed to go and so he's.

17:53 He wrote most of or a considerable. Amount, if not most of the new album nice and I think he did a fantastic colb. He was also on REDZ Color Ripping Death and helped us work those songs as well. So yeah, so the band is doing well. Yeah, and you know, I don't call it stale. I have a different viewpoint on that. It's probably a better album that it wasn't rushed and put out there because I think, tell me, if it's happened with you, I think as an artist, when it is sitting there like that, then all of a sudden things pop in your head that didn't happen while you're making, like oh I should have done this, or oh this should maybe be this way because you have the chance to really let the creative juices flow instead of that hamster wheel you're on. Noh, let's put the album out. We gotta go to the next gig. I got the next eight. Well, I completely agree.

18:46 And what's nice is Noah he owns his own studio, his own recording studios. So those changes or fixes. Or easy, very easy, you know, quite literally a lot of them were I'd call him and say, hey, I'm going to get there about twenty minutes before practice because I want to change this vocal line or I don't like where it's placed. We got to fix this. And so I just show up a little bit early, go in, open up the session, you know, change it, or I sing something or double my vocals or whatever it was, and then we start start practice. So it was made it very very easy. Yeah, and see, like I think of something I heard. I think it was James that was talking Hetfield and he was like, they didn't get to go in to do the mix for Kill Them All, and so after Kill Them All was done, he kind of felt like the album was not finished because they didn't have more say to the creative control of it. Sure, and they had been playing this music for so long that they should know what they wanted to.

19:52 Do, what it sound like. Yeah, you know. And I think that's a big thing for me, is as somebody that was part of the eighties bullshit with the labels, because I sat backstage and watch them go to certain bands that I was friends with and like, Oh, you're gonna play your music like this, You're gonna dress like this, You're gonna do that. My viewpoint is I have no problem with the business side of it, but let the creatives be the creatives, and let the suits be the suits, and you handle what you are the expert at. And I think artists should be the expert at the creativity. Well, I agree. And one of the things before signing to Black to Black, Mike said to us, He's like, you know, you're gonna just keep doing nunslaughter, like we're not looking to change what you do. And I was just like, that sounds good because you hear back to the horror stories of well you guys have where everybody's gonna wear a suit now and you're like, we don't.

20:50 Wear suits, right, that's gonna be your new look, And you're like, I don't know, man. Right exactly. I think that is the benef of today in twenty twenty six, because you as the artist has a lot more control than back in the eighties. Yeah, you know, and you could do your own thing, like you said, you have a studio like other were Wise you'd have to depend on the record label putting you in their studio and telling you how it should be mixed and everything. And sometimes he suits they know how market shit. And I'm somebody I'm a marketing person myself, but that doesn't mean you know how to write a song. Oh yeah, yeah, exactly.

21:31 I'm a perfect example that I wrote one song okay, do I know it? No? Uh? And I played guitar, I played drums, I sang thrash, I sucked at all three. But what happened was, is my head engineer he passed away, but he was a close friend of mine and he was a musician, and so I went to him with this song. Now I'm also a published author, so what did I do. I wrote a fucking book, not a song, you know. And I handed it to him and he's like, what the fuck is this? This ain't a song, this book. So he's like, and you'll appreciate this. He's like, can we take this out? And everything he wanted to take out, I'm like. No, that's important, that's essential.

22:13 I can't take that out. Finally, I was just like, fuck it, do whatever you want, and then he trimmed it down to a song that was actually awesome. But that's because he was the artist. I was the writer, business person trying to write a fucking song. Ah, I see, yeah. You know. And that's where I also get that view by him like thinking of other people like me trying to tell somebody like you how to write your song, and I'm like, yeah, no they shouldn't. Yeah, so yeah, anything else you want to share with the listeners that we haven't covered already? Uh, I think, yeah, I guess because sometimes people were they think because it's a new label or that they haven't heard of the band Nunsoder in particular, they think we're some like a like a new band. And sometimes and then the flip side is when you tell them what we've been around for about forty years and we got maybe out of two hundred releases, they think you're full of shit because it's like, well, how come I never heard of you guys? And you know, I've never even seen any of your releases, And so it's something that I think, I think maybe gets glossed over because even if a band hits, like let's say a band's been around for a decade, like ten years, you know, for some people, that just rolls off your tongue and you're like, you have no idea how hard it is to keep a band together for ten years?

23:43 Fuck? You know, I mean it's hard, you know, because you just you, you can get disgusted with and be like I quit, I don't want to do this anymore. You know, all the other shit that you have to deal with other than just writing and performing music, all the other stuff. And now one of the added fuck us as far as I'm concerned, is the uh social media because like I'm not, I'm not a social media. It just creates so much more work. It's a lot more work. Oh my god, now you gotta do fricking everything it was sold in the tape trading days. Well, I mean yeah, because you know, like a lot of uh shows that you do, even fast and whatnot, they keep hitting you up like, hey, why don't you do some content mentioned the fastes and stuff? And I want to I do want to help. I'm not saying that that I wouldn't do it, but it's just like, man, I got I got other stuff to do.

24:38 Man I got. That shouldn't be your job and in essence, because like if you want to do it, that's one thing, yeah, absolutely, yeah, but there should be people hired that that's their job, yeah, because it's what they specialize in. Well, what we. Back to the like a practice session, we'll get maybe I'll get a couple of inquiries or emails and say, hey, can you do a bumper for this whatever it is a radio show or a show that we're the physical show that we're performing at, and you know, we do our regular practice and then we kind of like, well, we got time, let's just we can rip it out, you know so. But then there's some days you're like, I don't have any time.

25:20 Guys, Like we did a three hour practice and it's nine thirty. I'm beat, I want to go home, my voice is shot, whatever the case is. And sometimes we don't get to it. But yeah, the social media thing is a real It's like a gnat just flying around. All the time. I gotta do a lot of it. I freaking hate it now. I used to not, and now I kind of hate it because it's like it's a lot of work, a lot of time. And I always talk about on my show about artists. People don't realize what hard work it is. Like they look at you and they're like, oh, man, that dude's got the dream life in one part, you do in ninety nine percent of the other parts not so much. A lot of a lot of my friends are like you know, hey, maybe maybe I'll come up in two weeks.

26:05 I'm like, can't do it in two weeks? Why not? I got I gotta go to South America for you know, fourteen dates or something like. Man, you're so lucky, and you're like, yeah, it's it is really cool. It's gonna be fun. I you know, I uh, this is what I'm doing for a living and everything. But then when you're on the road, you know, there's there's flights and cancelations and lost luggage and flat tires and transportation issues and payment issues and all this, like we didn't buy enough shirts, we bought too many shirts, how are we gonna get this ship to the next show? All this other minutia. It's not it's not sitting. So it's not just you just show up, You do your little thing for forty five to fifty minutes, and then you know, they hand your chicks coke and a bunch of money.

26:46 Let's why I go home. That's like the set is the bonus. Yeah, that's that's not even the meat and potatoes. That's the bonus. That's like the reward for doing all that hard work. Yeah, yeah, yeah, you're absolutely right. Yeah, because the the like I said, you know, whatever your set time is, you're fifty sixty minutes up there. A lot of people think, like, uh, you know, that's that's all. That was all you invested into either that day. I was like, oh, you only worked for like an hour up there. You're like, dude, how do you think those amps got on stage? I carried them up there? Right, We don't. We did practice like for fifty eight hours before we knew all these songs, So. There's a lot of time then, you know, going the shows takes forever. No sleep, you know, like.

27:30 You know, I'm running on that now exactly. I was here at nine thirty this morning. I don't go on until ten, and then I got to get up early and drive to Lansing. We had a show tomorrow and Lansing. See, that's why I like to hear because people don't realize that's like you're just going from one to the other and there's no break, you know, and it ain't fun necessarily if you're in a van or a tour bus. They think, ooh that's cool. No, it kind of sucks a little bit. Yeah. My and I've said this before. My favorite thing about touring and playing shows. Are the memories, yes, because it's the good times to stick with you because the bad times and if they're if they're wicked bad, a lot. Of times they turn out to be funny. Like you're like, dude, you remember that time, and you know there's this long story because at the time you're.

28:15 Like, mother, this fucking sop. Fuck, I'm never fucking doing this shit again. And in three months later you're like, dude, that was hysterical, man, right, totally remember when your. Guitar got run over to crack nap. We were laughing our asses off, but at the time you're like, how the fuck am I going to play the show? Exactly? No guitar, no doubt. So that leads me to one of my favorite questions I normally asked arts. I didn't even ask you yet, but since you brought up one story, good or bad, what's the one that really sticks in your mind? Just give me a second here, let me think. I know. That's why I love asking that question, because it's so hard for artists to pick which one. There's so many.

28:55 Well, i'd have to say that the one that I'm thinking of now. We we had a European tour This is a few years ago and it was our first and so far our only nightliner tour. So we had a couple of bands on there, including us, and you know it slept twenty two people or whatever. We had two lounges, two PlayStations. You know, there's a bathroom, there's a little kitchen at you know, you can there. You can sleep whenever you want. You know, somebody's driving. You know. You just you get in a van or you get in the bus, you drink, you play PlayStation, you fall asleep, and you wake up. You're in the next town, like super easy. And then after I want to say it was the second or third show, one of the guys in the band decided to jump a fence.

29:42 He broke his leg and we had to fly him home. This is a funny thing, you know, this is back the like I was just unbelievably pissed and he tried to I think he played one show, maybe two shows, sitting in a chair because and I always go back to there's there's a Paul Bayloft did that when when Exodus kind of came he rejoined or something like that, and they did a small tour and I want to say, this was like in the it was in the nineties, and he broke his legs. So he did some shows where he's singing but he's you know, he's up there, and so. I was like, if we got to do it, we got to do it. But it turned out his leg was in.

30:24 Such bad shape that he had to be a to be flown home and and have surgery immediately, and he still got pins and stuff and is but the best setup, like you're talking about the easiest thing you could do. You don't have to drive. We had a merch person TM all this stuff we had. All we had to do really was play music. And it ended like we finished the tour. We figured it out, but for him to break it, and I was like, oh my god, that's the bad tour. Yeah, that's the bad, one of the bad. Like that all the time. I saw a festival Vincent Price of body Count jump off the stage and break his leg while he was playing the guitar and he was laying on the ground still playing.

31:12 Yeah, that's it. Yeah, then there's a I mean, the thing is that's that's that's one negative one, but then there's there's dozens of other great ones. One I'll just share we we ended up. We had we had a tour of South America, and uh, we're doing it on our own. So it wasn't like through a big company or anything, you know, it was me and the promoter and uh we started off the tour. It was like ten dates and we're like, Okay, that's good. You know, it's gonna be a lot of flying, but we're gonna do it. And and then and then it was like a couple of places canceled, you know, got down to like say seven, We're like, well we're still gonna do this, you know, and then tickets are bought, you know, the time frame and everything, and then it was just like, uh, we we got on the plane.

31:57 Right before we got on the plane, it was like, we're on the four shows, but we're gonna be there for two weeks or two weekends really and I'm like, I'm like, well, tickets are our money spent? Like we're coming anyway. We ended up playing two shows, two sat we played Saturday. We had a whole week off and another Saturday show and so a total bust, you know. He was, uh, you. Know, I don't want to say devastated, financially, but it took a bit. He took a big hit. But what he ended up doing for us the week that we had like technically nothing to do, he rented this awesome house, like way up in the hills of Columbia, and we had we had our own pool, we had a water slide, we had half a soccer field, and the whole week we were there, we just hung out, drank beer, walked around the town. Most of these people I don't think I ever saw like white people. They were like, they were like little kids, like we're just so surprised they're coming out of school, you know, and they're like big white guy and it just it was but it was awesome.

32:56 So he treated us great. And then on top of that, he ended up renting a studio for half a day and we went back into town. Because this was like seven eight hours up into the mountains, we came back into town. He rented a studio. We wrote two songs. Nice. We ended up playing a show with Witch Trap. At the witch Trap show, one of the guys, Hugo and myself we were talking, We're like, hey, we just recorded a couple of songs. He's like he's like, let's do a split, and I was like, all right. So they recorded a couple of songs and it ended up coming out and unsawt Our witch Trap split. And so that guy, he went beyond what I would have expected somebody because he was already financially fucked, but he rented this beautiful house and a studio for us and everything.

33:39 So we got treed. Oh. I know how. Fortunate we were, because I've heard some some other difficult stories from other bands that they weren't as lucky. Yes, but those are the two sides of the coin. So sometimes sometimes your band member breaks your leg, and sometimes you get to hang out in the house drinking beer in Columbia. There you go, now here you are, Milwaukee Metal Festwaukee Metal Fest. Absolutely can't wait for your set. And thanks a lot for being on the Adventures of pipe Man. Thank you very much. Man. I hope you stick around to see us. I will definitely stick around. Coo cool. Thank you for listening to the Adventures of Pipemin on w for CUI Radio.