PipemanRadio Interviews Frogg

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Hey, you love done to censure? Wow? Crazy you why become America.

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It's time for the Adventures of pipe
Man on W four c HY dot

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com. Wis pom Beats is number
one Internet radio station. Here's your host,

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the pipe Man. This is the
pipe Man here on the Adventures pipe

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Man W four c Y Radio.
And I'm here with our next guest.

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Who man, what killer musicians?
You're gonna have to check out? So

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let's welcome to the show Frog.
How are you hey? This is sky

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Moon Clark from Frog. And this
is Will Brown from Frog. The guy

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who hits things. Nice. I
like the guy who hits things. I

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used to hit things, but I
was never very good at it, except

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if it wasn't the drums. So
see it's the only thing I'm good at

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hitting is drums. See there you
go. I played for like nine years

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and I got handed to drummers man
because I wasn't any good. The coordination

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you have to have to play drums
is absolutely amazing. I think I had

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a weird little bonus at the very
beginning where I had a surgery on both

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my legs as a kid, and
I started lessons with cats on both of

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them. So it's just rudiments on
the pad, no questions. You know,

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like, wow, that's pretty wild. And I was like, okay,

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time for your footwork, and I
went there, there's footwork right there.

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You go. So tell our listeners, both of you a little bit

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about Frog what you're all about.
Yeah, and I don't mean from a

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genre standpoint, I mean as artists
and how you would describe your music and

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your musicianship. Yeah. Sure,
Frog is a technical metal band. I

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know we said not to talk about
genres, but for like me personally,

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I like a lot of different types
of metal subgenres. There's a lot of

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them. Yeah, in particular,
like progressive metal, technical death metal,

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melodic death metal. Those are kind
of my guilty pleasure sweet spots. So

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our band is kind of an amalgamation
of all of those. Plus our drummer

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has a lot of world instruments that
he puts on our songs, so it's

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a little experimental in that sense.
And yeah, if you like Proggy Tuchy

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metal, and you know it's not
necessarily I would say, I don't.

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We don't really write music with the
ambition of being technical. We just I

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think we just practice a lot and
our expression kind of comes out in the

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technical way, if that makes sense. I don't know. Technical isn't really

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a We show up with a chart
and like apologize to each other, like

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I'm sorry, I'm making you play
this ridiculous part. Yeah. I come

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from like a jazz fusion and progressive
rock sort of background and decided to just

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sort of learn every percussion instrument in
the world. So there's a lot of

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there's a little bit of salsa stuff
I managed to insinuate into this thing,

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but I'm increasingly always trying to get
like Indian classical music in there. Play

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tabla, play sitar, play all
these other things and just make it weirder.

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I guess I like the way you
put that because listen, when I

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was younger and I was playing stuff, my dad would go, oh,

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you're terrible, because because I was
just experimenting, trying to see what sounds

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I can make, and he didn't
get that. So I totally when there's

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uniqueness to the music, especially in
metals nowadays, because nowadays in metal,

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it seems like a lot of these
bands are just using this like algebraic equation

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formula to make their music. And
I like the way, like even listening

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to your music how it kind of
takes me into a journey, but sometimes

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like I'm going in a different direction
and then another direction and I love that.

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Yeah, the single we just put
out, when we wrote this song,

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well, here's a funny story.
When we wrote the song, we

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said, let's write a catchy,
poppy song like three minutes, like our

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featured artist m Ray, who was
a feature on the song, is going

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to sing and play piano slash key
tar. It'll be super super listenable and

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catchy. And one winter past and
we had like an almost seven minute song

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we were trying to shorten down.
It just kind of came out that way.

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So we kind of wrote with an
intention and it kind of changed.

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But uh, yeah, you know, the originality thing is like that resonates

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a lot with me. Like,
I mean, I love technical death metal,

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but the genre is very uh there's
a lot of bands that they're my

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favorite bands. Don't get me wrong. I could maybe mix them up if

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I was like at a live show
and not paying attention. But yeah,

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I think that having something modern but
also original because a lot of modern metal

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today is very like all the production
tricks are kind of like industry standards,

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and it feels like it's very formatted. I guess, so that's like there's

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something that's nice and listenable, you
know, like there's all this hyper pop

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metal and a lot of catchy TikTok
esque music, if you will, and

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that shit's cool, but uh,
it's uh, it's something we try to

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like avoid doing. You know,
we like our songs to be kind of

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unique. I would say, I
think at the at the very heart of

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every sort of genre trope, there's
a really simple question that lets you write

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in a right angle turn anywhere you
want to. Like, for this one

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in particular, I kind of just
thought about these fast, triplet feel things

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that metal drummers do, and I
kind of went like, hey, I

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kind of started as a jazz guy
way back in the day, why does

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no metal drummer swing? And then
I went, oh, the answer to

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that is because every metal song would
sound bad if there was swing happening in

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the drum part. And I went, Okay, well, let's put together

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a song where it is not a
stupid idea for the metal drummer to swing.

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And I hope we've succeeded at that. Well. I can tell you

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that, you know, I was
watching the video for wake Up, and

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man, it's one of those videos
that I could watch the whole video.

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And what I mean by that is
there's so many songs nowadays that you know,

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you watch like and you're like thirty
seconds in and you just know that

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it's going to be all the same
for the rest of the song, whereas

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I wanted to wait and see what
was going to happen next during this song.

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That's great. I love hearing that
we wrote the song being like,

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I like music to kind of be
an experience when I'm an active listener.

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Like there's two different types of listeners
that I am passive, like maybe I'm

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gaming or working or doing something and
I want to just have something in my

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ears. But then there's that curiosity
gets the best of me active listener,

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and when I'm an active listener,
I love for music to kind of be

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an experience. Yeah, the song's
pretty weird. Has like that tapping intro.

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It has like a chick shredding the
key tar and then singing has me

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screaming. There's like a guitar section
that has like we call like the salsa

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kind of groove. Guitar section will
actually played a. I've played five things

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at the same time, Yeah,
Marimbola, Congo's bongos, Timbalez and the

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kit. Yeah. Yeah. So
it's like five different percussion instruments, clean

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acoustic guitars, real Steinway piano in
the studio and well and then I just

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stret a electric lead solo over that
and it comes out of this like very

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faceless inspired chug riff too, So
it's like we're throwing a lot of curveballs,

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faceless inspired for you. I was
like, yeah, isn't basically this

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riff with a different progression on the
Mars Volta record. Okay, let's do

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a last thing that was kind of
just oh man. Yeah. I mean

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when we talk about that passive or
active listening, I have some weird glitch

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in my brain where I can't do
passive listening. I have trouble talking to

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people in a coffee shop if there's
music in the background. I end up

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writing things that have these weird sort
of curveballs thrown in because I have a

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lot of trouble dealing with anything that
isn't a curveball. Every like fifteen seconds

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and there it is. I've turned
it. I've turned it into a feature

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and not a bug. I suppose, Well, there you go. I

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listen. I'm all about turning it
into a positive because listen, some of

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the best artistry, no matter what
it is, music or painting or whatever

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art it is, does not come
from something that just is straight up one

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way and you know, doesn't have
twists and turns and doesn't have weirdness to

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it. Like some of the best
artistry just is totally abstract. Yeah,

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well, the once we put out
a record, the track list is going

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to have weirdness to it. I
don't know that we have two songs that

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are describable in the same way.
Yeah, we've been working, so I

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will. And I used to jam
back when I was a teenager on the

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side. We used to play like
the Fortress record by Protest the Hero that

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was like big, a big record
when we were you know, sixteen,

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fifteen, seventeen, whenever those years
were. So we would just get together

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and I would like play lead guitar
and he would kind of just drum and

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it was like, hey, you're
good enough to play this whole record front

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to back. You want to get
together and like jam. It was kind

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of just like how we met each
other. Because we're from the same town.

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I ended up going to college up
in Boston at Berkeley College of Music,

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and Will actually ended up going a
year later, and we both we

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wrote some Frog material then, but
he had his own band, I had

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my own bands, and we didn't
really work on Frog actively until well until

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this past like year and a half, I would say, And we're kind

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of reviving some masterpiece as we wrote
ten years nine years ago, and we're

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masterpiece offying some stuff that eighteen year
old us thought was a masterpiece. Yeah,

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we're yeah, it's getting changed.
We're brushing it off, you know,

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dusting it off the shelf, giving
it a facelift if you will.

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But I don't know, Like for
me, our track list is there's some

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really weird songs, Like we have
a straight up just metalcore song on the

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album, because we have a full
length that we're planning to release in the

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summer, and we have another single
coming out December and probably another music video

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coming out in the spring, so
we have like a bunch of singles leading

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into this full length, and the
full length has like like very different songs.

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You get prog metal, you get
straight up metalcore, you get dark

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techie death Prog medal, you get
really weird Will solo composition metal which is

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uh has a lot of orchestration in
an instrumentation and some sitar solo. You

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know. I think live Will is
gonna play like a sitar solo. If

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we can manage to move that giantas
thing to the gig and you can do

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a little sitar solo before we start
a song, I think that'd be pretty

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cool. The problem is it has
me playing sitar and tabla at the same

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time. One of them will be
a back track. Yeah, you have

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to choose what you you know,
can't have it all, or maybe you

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can teach me tabla. You know
what I love about this too, is

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so for me the passive listening would
be like one of your albums, because

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I do like multiple genres of metal, and you know, you get in

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every few minutes, you may get
in a different mood. So it's kind

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of like instead of listening to the
same song over and over again, because

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then I might get antium like,
uh, okay, I'm gonna listen to

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something else, whereas you got songs
like yours that they're all different. It's

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like it's like having a playlist instead
of an album. Yeah, we kind

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of talked about the album and you're
like, we don't really think we need

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to do like a concept album,
or we don't think the songs will need

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to sound the same. You know, there's obviously like a fluency that's nice

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for having like one person like engineer
the whole thing to kind of make it

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feel like a full, kind of
tight knit thing. But you know,

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we're very deep into these subgenres and
the reason that the songs are different is

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it's not like we're being weird or
different out of like, you know,

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contrarian for the sake of being contrarian, if you will. It's more that

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just these are all the influences that
we love. It's the music we love

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to play on like a very at
a very high level. You know,

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Will plays this fusiony jazz prog stuff
very well, and I dive headfirst into

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tech death and metal core and prague. So it's kind of just like what

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we like and what we're feeling.
You know. It's not really written with

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the intent of let's have a concept
album that is very uniform, and I

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just think that logistical thing of we
wouldn't probably be playing if we have to

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think like, okay, if we're
putting a full length record, would we

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be able to play this thing in
track order live? And we're using tunings

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that would make like guitar switches take
longer on stage. You know, it's

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to make a concept record out of
it. Would be to create that expectation.

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We go like, well, we're
probably going to be intersplicing it with

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things from the first EP just to
make the minimum amount of guitar switches on

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stage, to be like good neighbors
to other people we're playing with. Yeah,

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yeah, just those like venue logistics
things, not our first rodeo exactly.

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You know, well totally. And
you know, it's funny going back

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to what your guys were saying about
when the masterpieces when you were like seventeen

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eighteen, and what you're doing to
them now. I think a lot of

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people they don't think about or realize, you know, especially you know,

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you have the old school, always
hardcore fans that they never want you to

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change. I used to be one
of those people, but when I was

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younger. But it's like, as
an artist, you look back at that

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stuff and you're like, oh my
god, I sucked, you know,

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in so many words, because like
you didn't perfect the craft yet, you

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were you were still like learning it
and you're always learning it. So as

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you evolve as a good musician that
cares, Yeah, you're always going to

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want to, you know, look
back on stuff and go, man,

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I should have done it this way, and I should I could do this

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to make it better and so forth. That's why it's all about the live

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show. I really believe that every
song is a living document, and the

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official version is not the version that's
on the record. The official version is

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whatever is the most recent, best
played live version. Yeah, that's a

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good point because it's so true.
Like so many bands I've seen like a

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million times they played the same song
and it does sound different as the years

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go by and they're you know,
becoming better at their craft. Yeah,

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I mean, it's there's something like
very raw about being like seventeen or eighteen

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and designing write like a ten minute
tech death prog metal song. There's like

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parts I wouldn't. It's weird.
You know, when you when your skill

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set is less refined, you kind
of do these brute decisions that are harder

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to replicate once you have refined the
craft, Like one of the songs we

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were doing an arrangement treatment. Actually
we're doing a little songwriting session before this

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call. We're not really changing the
first like two minutes of the song because

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it's just like, I don't know, there's something very like charming about being

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young and ignorant, and I wouldn't
write an intro like that song has,

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but it's very it comes right out
of the gate really strong, so it's

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as cool intro. I think we're
going to keep it. But yeah,

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it's a good point. As you
get better at your craft, you kind

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of start to do little things that
change the songs, you know, whether

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it's technique or straight up arranging it
differently. I was always told that,

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like, oh, by the time
you hit thirty years going to want to

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like play pocket and you know,
slow it down and forget all this weird

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tech stuff. And I'm about to
hit thirty in a few months and I've

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only gotten weirder. I think that's
forever. I think it's just an exponential

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curve. See, I'm with you. It's kind of like when people say

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to me, I used to like
metal. I'm like, if you used

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to like metal, you never really
liked metal. If you used to like

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metal, then you haven't been listening
to the new metal that you're going to

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like. That's it just came out, Yeah, exactly. It does blow

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my mind how many people you know, like they haven't listened to a new

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metal band in like twenty years or
more. And it's like, you know,

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even if the old stuff is good, why wouldn't you want to listen

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to new stuff? Why would you
want to be stuck? Yeah, I

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mean it's it's funny because my my
like Guilty Pleasure band is like children of

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Vote them and they're kind of they're
kind of old school. Their sound has

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been kind kind of linear, but
I actually like their music a lot still

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today. I'm kind of like torn
on this topic if I'm mean, like

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brutally honest, because like there's some
old records I love, and then some

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don't age too well, but some
age really well and it makes you think,

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Wow, they actually had like that
guitar tone in like two thousand and

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three. That's pretty rad. You
know, it's just engineered right and it's

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written right. But there's definitely like
an evolution to metal, you know,

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and I think there's I think there's
a lot of benefits to things evolving in

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this way, but there's a lot
of drawbacks, Like I don't really like

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TikTok guitar players. They're also so
like how many of them are actually good

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in person in a live setting,
and how many have stage presence when it's

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not in the comfort of their home
editing in front of a camera. You

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know, I love going to show
a live show and like having it be

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a show, not like a guitar
neck in somebody's face with a strap up

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to their chest. You know,
to me, that's just not it's not

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that much of a fun thing.
So like Will and I have been shedding

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this stuff of like let's put on
a freaking show and like play this really

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technical metal that we love, but
let's also play it just like the record.

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So we practice at a studio of
our in years, and we're like,

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we're very perfectionists of our crafts.
We probably won't play live shows this

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year, but we're hoping to start
next year early next year. If you

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know a song so well that you
can start improvising in a way that's just

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making decisions because you know what everybody
else's parts are, then that's when you're

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ready to like attempt to do a
backflip on stage while hitting that sweep arpeggio

257
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or whatever is attempt not to decapitate
someone with your large headstock with eight tuning

258
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pegs on it, or oh yeah, headless guitars. Yeah, that's that's

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for this reason. Yeah, it's
because people started flailing around like the Dyllinger

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escape plan and then like one too
many heads rolled. I don't think anybody

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has anybody been decapitated by a guitar. No, not yet, I feel

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like that, not yet, but
it might be coming. So you never

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know, somebody's going to listen to
this, you know what, somebody's gonna

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listen to this and try to make
that happen. That. I think that's

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the world we live in. Somebody's
home, only on the stage. Yeah,

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guys, don't try it out,
but I remember, Okay, So

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I remember Chris Holmes of Wasp used
to run into his Marshall stacks and try

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and knock them over while he was
playing his guitar and probably did a couple

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of times. Sounds right, It
sounds on brand, honestly, right.

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So, but yeah, doing a
backflip that's pretty impressive. I gotta say,

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No, backflips at our shows.
Will's just pulling words out of his

272
00:19:48.240 --> 00:19:52.799
hat. I do not maybe like, uh maybe sling my guitar around me

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if I have my wireless on the
strap, but uh yeah, no,

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he's one of these necrophagious lead guitar
while screaming guys. So's he's anchored to

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the center stage. Yeah, it's
good. I mean there's a lot of

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like instrumental parts where I can definitely
move stage left right and head bang and

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do whatever. I mean, it's
crazy at that music video as a band.

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Actually, when we were talking about
filming Wake Up, we were like,

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we need to practice this song every
day for like a few months leading

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up to this, and we need
to look in the mirror and like it

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needs to be legit. Because it
was a performance video, we didn't really

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have the budget to be like a
story script and have like actors and stuff

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like that or like real direction to
like put that together enough time. So

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it was like we're just gonna play
this prog song for six and a half

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minutes in a room. My fingy's
better be on the right frets, you

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know. That was also like we
need to be going hard, like we

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need to play the way we would
if we were playing live, and that

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needs to like come through, not
in like a fake way because the parts

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are technical. I don't want to
just be like headbanging out of control when

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I should be screaming or like doing
a sweep our peggio or whatever it might

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be. Right needed to be like
if we were plug in, it would

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have sounded acceptable. And I think
we literally all pulled that off. It'so

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a lot of practice, but definitely
it was definitely a killer video. And

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I mean, yeah, I also
have to hats off to people that can

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sing and play an instrument no matter
what the instrument is, at the same

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time, because again, the coordination, it's kind of like rubbing your tummy

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and your head at the same time
kind of thing. Yeah, you know.

298
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For for me, this stems back
to my other that other topic of

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my Guilty Pleasure band being Children of
bout Him. When I was a teenager

300
00:21:41.160 --> 00:21:45.839
is when I started practicing, you
know, uh, playing like heavy metal

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guitar and screaming and also figuring out
what the hell screaming was, you know

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00:21:49.720 --> 00:21:52.799
that was you know, I don't
think my mom liked that too much,

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00:21:53.599 --> 00:21:59.720
but uh, it's it's definitely like
a skill set that's kind of different.

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00:21:59.799 --> 00:22:03.680
It's not the same as like like
drummers have like independence in their limbs.

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00:22:03.839 --> 00:22:07.000
It's kind of similar to that,
uh in a way, but uh,

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it's its own thing, you know. And every song is a little different.

307
00:22:11.799 --> 00:22:14.960
Like there's rough spots to like sing
and play, is how to describe

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00:22:15.000 --> 00:22:17.640
it. There's some that are just
like I could do it on a whim

309
00:22:17.759 --> 00:22:19.880
now, but there's always like sections
where I kind of have to play at

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00:22:19.960 --> 00:22:23.960
half speed and like mouth out the
words before I start screaming to understand when

311
00:22:25.000 --> 00:22:26.279
I need to breathe. A lot
of it's about, you know, I

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00:22:26.359 --> 00:22:30.480
want to breathe around my guitar playing, but then I also have to breathe

313
00:22:32.119 --> 00:22:34.319
for the screams that need to happen, and it's not die you know.

314
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Yeah, so it's kind of this
weird thing where you kind of got to

315
00:22:37.880 --> 00:22:40.759
tell you it's more about learning when
to breathe for me nowadays than it is

316
00:22:40.839 --> 00:22:45.680
to like coordinate uh, you know, scream and playing, because I mean

317
00:22:45.720 --> 00:22:48.200
to make sure I have the breath
I need for everything. He's downplaying his

318
00:22:48.279 --> 00:22:49.880
ability to do this. One of
the big draws to seeing us do this

319
00:22:51.039 --> 00:22:53.000
particular song live. Is that tapping
at the beginning, he can just have

320
00:22:53.119 --> 00:23:00.960
a conversation, Yeah, while we're
while we're rehearsing that, like yelling names

321
00:23:02.039 --> 00:23:07.119
of cities. Yeah, that's what
I like, Hello Detroit, Brooklyn,

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00:23:07.039 --> 00:23:12.440
Miami, Rome, Like just good
practice. Hey, that's good practice.

323
00:23:12.559 --> 00:23:17.400
Okay, Yeah, well I kind
of tease Will when we practice the song,

324
00:23:17.559 --> 00:23:19.920
this particular song, because I can
speak and do the tapping like at

325
00:23:19.960 --> 00:23:22.599
the same time or head bang,
which yeah, we gotta have. We

326
00:23:22.680 --> 00:23:26.880
gotta have a running thing of like
you vividly describe your breakfast every time we

327
00:23:26.960 --> 00:23:30.160
play that. No, I don't
know that. And you know, the

328
00:23:30.680 --> 00:23:34.200
city thing that's important to practice because
do you know how many times in the

329
00:23:34.319 --> 00:23:40.400
past few months that I was at
festivals doing coverage and the band said the

330
00:23:40.480 --> 00:23:47.119
wrong festival name. Yeah, can't
be me, catch me. Yeah,

331
00:23:47.160 --> 00:23:52.839
I've always I've always told people like, okay, just don't name the place

332
00:23:52.880 --> 00:23:56.079
you're in ever. Ever. Yeah, that's actually kind of a smart idea

333
00:23:56.720 --> 00:24:00.880
because just be like, hey,
what's up, and then and then play

334
00:24:00.920 --> 00:24:06.559
your song. Well, it's like
on the South we are, well I'm

335
00:24:06.599 --> 00:24:11.119
in South Florida right now, and
when people play in West Palm Beach and

336
00:24:11.200 --> 00:24:17.920
say Fort Laurerdale. The whole crowd
is not happy, and that's you know,

337
00:24:18.119 --> 00:24:21.559
that's not I don't think I'm ever
gonna be doing that. I'm like

338
00:24:21.759 --> 00:24:26.079
so aintal retentive about being like on
point of my logistics. I think,

339
00:24:27.200 --> 00:24:32.519
well, can I be like being
playing in the meadowlands and saying hello New

340
00:24:32.640 --> 00:24:37.519
York? Yeah again, I don't
think I'll make this mistake. And if

341
00:24:37.559 --> 00:24:41.640
I do, well, fuck me. I can apologize all I do the

342
00:24:41.839 --> 00:24:44.799
tapping, Like, since I got
all the conversation, there you go.

343
00:24:45.160 --> 00:24:49.119
So let's tell everybody how they can
reach out to you guys on socials on

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00:24:49.240 --> 00:24:53.319
the web. Check out the new
video all your music, merch all that

345
00:24:53.400 --> 00:24:59.599
good stuff. Sure, our socials
are pretty simple. We're frog band on

346
00:24:59.640 --> 00:25:03.599
almost everything Frog with two g's followed
by the word band. That's our Instagram,

347
00:25:03.839 --> 00:25:07.920
that's our Facebook, that's our Twitter. Our YouTube is a frog official.

348
00:25:08.680 --> 00:25:12.279
We got frog official dot bandcamp dot
com. I think the single is

349
00:25:12.319 --> 00:25:17.359
actually available for free in full dot
wave quality, So you can download this

350
00:25:17.440 --> 00:25:21.880
song for free on band camp frog
Official Baby, And we have a link

351
00:25:21.960 --> 00:25:26.880
tree if you know what that is. Linktr dot ee slash Frog band has

352
00:25:26.119 --> 00:25:30.079
everything, our discord, all of
our socials, what have you, And

353
00:25:30.759 --> 00:25:33.920
yeah, you can listen to wake
Up, our newest single on all streaming

354
00:25:34.000 --> 00:25:38.599
platforms, I'm pretty sure. And
we have another single coming out December.

355
00:25:40.240 --> 00:25:45.000
Dandelion is the name. Release date
is being finalized in the coming weeks,

356
00:25:45.279 --> 00:25:48.160
so keep an eye out for that
if you like them more darker and less

357
00:25:48.319 --> 00:25:52.279
progressive metal vibe. But yeah,
you can watch the video on our official

358
00:25:52.279 --> 00:25:56.440
YouTube channel. Love it. Any
final words you want to leave our listeners

359
00:25:56.519 --> 00:26:03.200
with that we haven't covered, no, just keep it metal. To listen

360
00:26:03.240 --> 00:26:06.000
to anything that you like, you
know, and if you check out Frog,

361
00:26:06.079 --> 00:26:08.759
we appreciate you. We're a very
small band. We haven't We've been

362
00:26:08.880 --> 00:26:12.440
kind of a social media hermit,
so all the comments, likes and shares

363
00:26:12.480 --> 00:26:17.839
and stuff are really really cool because
we don't really we haven't really been pushing

364
00:26:17.880 --> 00:26:22.400
that needle too much, so it's
always fun. Well, I can't wait

365
00:26:22.559 --> 00:26:26.799
for even more music and can't wait
until you're live too, because I think

366
00:26:26.839 --> 00:26:30.839
you guys will be bad ass doing
a live show. Thank you being on

367
00:26:30.000 --> 00:26:33.599
the Adventures of pipe Man. Yeah, thanks pipe Man for having us.

368
00:26:37.119 --> 00:26:45.319
Thank you for listening to the Adventures
of Pipe Man on W for CUI Radio