1 00:00:00,000 --> 00:00:02,580 (upbeat music) 2 00:00:02,580 --> 00:00:12,680 - Hey everybody, what is up? 3 00:00:12,680 --> 00:00:16,480 Welcome back to Fansom Power Music Review. 4 00:00:16,480 --> 00:00:18,760 This is episode 10. 5 00:00:18,760 --> 00:00:22,760 I think I'm gonna do four songs this time. 6 00:00:22,760 --> 00:00:25,880 Episode 10 of the Fansom Power Music Review. 7 00:00:25,880 --> 00:00:28,720 This is where we dive into songwriting, 8 00:00:28,720 --> 00:00:30,680 composition, recording, 9 00:00:30,680 --> 00:00:34,120 we geek out as musicians love to. 10 00:00:34,120 --> 00:00:35,660 Some of you guys love to geek out 11 00:00:35,660 --> 00:00:39,840 over Bitcoin mining and nodes and ordnals 12 00:00:39,840 --> 00:00:44,300 and whatever all you propeller heads love to geek out about. 13 00:00:44,300 --> 00:00:47,320 I like to geek out about songs 14 00:00:47,320 --> 00:00:50,920 and hopefully people will chime in and listen. 15 00:00:50,920 --> 00:00:54,520 Or listen and chime in, one of the two. 16 00:00:54,520 --> 00:00:58,700 But most importantly, this is a value for value podcast, 17 00:00:58,700 --> 00:01:02,060 which means that the listener can send 18 00:01:02,060 --> 00:01:04,300 little tiny bits of Bitcoin 19 00:01:04,300 --> 00:01:08,060 straight to the artists while the songs are playing 20 00:01:08,060 --> 00:01:13,140 or to the podcast host who could always use a new microphone. 21 00:01:13,140 --> 00:01:14,500 If you love the show, 22 00:01:14,500 --> 00:01:17,540 we certainly hope you will donate to it, 23 00:01:17,540 --> 00:01:19,560 be a value for value. 24 00:01:19,560 --> 00:01:21,660 But most importantly, we are here for the artist 25 00:01:21,660 --> 00:01:26,660 and we want to help artists earn a living wage. 26 00:01:27,480 --> 00:01:30,880 And I think the value for value 27 00:01:30,880 --> 00:01:34,760 and what's going on in podcasting 2.0 with RSS feeds 28 00:01:34,760 --> 00:01:37,240 and with what's coming up with Nostar, 29 00:01:37,240 --> 00:01:39,120 I am excited about the music industry 30 00:01:39,120 --> 00:01:40,920 for the first time in 30 years. 31 00:01:40,920 --> 00:01:45,240 Anywho, I've talked about that on my other podcast. 32 00:01:45,240 --> 00:01:47,960 All right, let's shut up and let's dive into some songs 33 00:01:47,960 --> 00:01:51,780 and then we'll break down what makes them tick 34 00:01:51,780 --> 00:01:53,040 and what we like about them. 35 00:01:53,040 --> 00:01:56,160 First up, we are going to do a song called 36 00:01:56,160 --> 00:02:00,640 "Figured You Out" by The Dwarfels. 37 00:02:00,640 --> 00:02:03,360 And if you dig it, you got to boost it. 38 00:02:03,360 --> 00:02:05,240 Let's listen to it and then we'll break it down. 39 00:02:05,240 --> 00:02:06,080 Here we go. 40 00:02:06,080 --> 00:02:08,660 (upbeat music) 41 00:02:08,660 --> 00:02:23,880 ♪ There's a girl in my world ♪ 42 00:02:23,880 --> 00:02:25,480 ♪ And she's all one ♪ 43 00:02:25,480 --> 00:02:28,320 ♪ If only I could follow her and take her ♪ 44 00:02:28,320 --> 00:02:31,440 ♪ I know every single little thing about her ♪ 45 00:02:31,440 --> 00:02:34,200 ♪ If only I could follow her and show her ♪ 46 00:02:34,200 --> 00:02:37,440 ♪ Shoot her tax in the middle of a night, die ♪ 47 00:02:37,440 --> 00:02:40,160 ♪ Maybe we could get together ♪ 48 00:02:40,160 --> 00:02:43,160 ♪ Take her to your spots on the rooftops, baby ♪ 49 00:02:43,160 --> 00:02:46,880 ♪ Go on, take her out and let me change her ♪ 50 00:02:46,880 --> 00:02:49,640 ♪ Oh ♪ 51 00:02:49,640 --> 00:02:51,840 ♪ Are you ready? ♪ 52 00:02:51,840 --> 00:02:55,360 ♪ You can't have the fun ♪ 53 00:02:55,360 --> 00:02:57,720 ♪ Don't stay in the city ♪ 54 00:02:57,720 --> 00:03:00,680 ♪ Going downtown ♪ 55 00:03:00,680 --> 00:03:03,280 ♪ And leaving downtown ♪ 56 00:03:03,280 --> 00:03:06,400 ♪ And I don't want to stay in the city ♪ 57 00:03:06,400 --> 00:03:10,280 ♪ 'Cause I can't do that ♪ 58 00:03:10,280 --> 00:03:13,280 ♪ I know you like staying up a little later ♪ 59 00:03:13,280 --> 00:03:16,040 ♪ I know you're not the kind of fox for a play ♪ 60 00:03:16,040 --> 00:03:19,000 ♪ And I'm spelling all my time, baby, baby ♪ 61 00:03:19,000 --> 00:03:21,960 ♪ Just trying to find a way to take you ♪ 62 00:03:21,960 --> 00:03:25,320 ♪ From the guys that you know you're the all right ♪ 63 00:03:25,320 --> 00:03:27,960 ♪ Don't you let me shout a little loud ♪ 64 00:03:27,960 --> 00:03:30,920 ♪ Little, little real you do, baby ♪ 65 00:03:30,920 --> 00:03:34,280 ♪ Go on, take her out and let me change her ♪ 66 00:03:34,280 --> 00:03:37,240 ♪ Oh ♪ 67 00:03:37,240 --> 00:03:39,640 ♪ I'm the baby ♪ 68 00:03:39,640 --> 00:03:43,000 ♪ You got the fun ♪ 69 00:03:43,000 --> 00:03:45,400 ♪ I'm down, stay in the city ♪ 70 00:03:45,400 --> 00:03:48,400 ♪ Going downtown ♪ 71 00:03:48,400 --> 00:03:50,960 ♪ And leaving downtown ♪ 72 00:03:50,960 --> 00:03:53,960 ♪ And I don't want to stay in the city ♪ 73 00:03:53,960 --> 00:03:58,240 ♪ 'Cause I'm gonna get you out ♪ 74 00:03:58,240 --> 00:03:59,840 ♪ I know you want to know ♪ 75 00:03:59,840 --> 00:04:01,640 ♪ 'Cause I'm gonna get you out ♪ 76 00:04:01,640 --> 00:04:03,640 ♪ I'm gonna get you out ♪ 77 00:04:03,640 --> 00:04:05,280 ♪ Every time I'm with you ♪ 78 00:04:05,280 --> 00:04:06,280 ♪ You're just dead ♪ 79 00:04:06,280 --> 00:04:07,520 ♪ I am not blind ♪ 80 00:04:07,520 --> 00:04:08,840 ♪ And I'm so ♪ 81 00:04:08,840 --> 00:04:11,840 ♪ Fly ♪ 82 00:04:11,840 --> 00:04:15,840 ♪ You're the sound of a fly ♪ 83 00:04:21,360 --> 00:04:24,760 ♪ You got the fun ♪ 84 00:04:24,760 --> 00:04:26,840 ♪ I'm down, stay in the city ♪ 85 00:04:26,840 --> 00:04:29,960 ♪ Going downtown ♪ 86 00:04:29,960 --> 00:04:32,600 ♪ And leaving downtown ♪ 87 00:04:32,600 --> 00:04:35,680 ♪ And I don't want to stay in the city ♪ 88 00:04:35,680 --> 00:04:39,840 ♪ 'Cause I'm gonna get you out ♪ 89 00:04:39,840 --> 00:04:45,000 ♪ And I'm gonna get you out ♪ 90 00:04:45,000 --> 00:04:48,520 ♪ I'm gonna get you out ♪ 91 00:04:48,520 --> 00:04:52,680 ♪ I'm gonna stay in the city ♪ 92 00:04:52,680 --> 00:04:59,000 - Well, we're gonna have TJ Dorfell on the show 93 00:04:59,000 --> 00:05:01,600 coming up at the back end of January. 94 00:05:01,600 --> 00:05:05,240 He's agreed to do an artist, our interview. 95 00:05:05,240 --> 00:05:09,440 We can dive more into that track and to the history 96 00:05:09,440 --> 00:05:12,120 of the band, 'cause I know they've been around now 97 00:05:12,120 --> 00:05:14,640 for at least 14 years. 98 00:05:14,640 --> 00:05:16,680 I saw some YouTube clips of the band 99 00:05:16,680 --> 00:05:20,880 when they were down in Florida 100 00:05:20,880 --> 00:05:22,880 and playing it around the country. 101 00:05:22,880 --> 00:05:26,560 So I bring all of that up because it is no surprise 102 00:05:26,560 --> 00:05:30,760 that that song physically sounds as well as it does 103 00:05:30,760 --> 00:05:32,960 when you have a band that's been together that long, 104 00:05:32,960 --> 00:05:37,040 when you guys have guys that have been doing it that long. 105 00:05:37,040 --> 00:05:40,040 The production on that is just absolutely topped here, 106 00:05:40,040 --> 00:05:41,360 absolutely topped here. 107 00:05:41,360 --> 00:05:46,040 Other things about it that stand out, 108 00:05:46,040 --> 00:05:51,040 the complete absence of any sort of beat, any sort of music 109 00:05:51,040 --> 00:05:55,480 on beat one. 110 00:05:55,480 --> 00:05:57,600 Like that is just such a cool trick. 111 00:05:57,600 --> 00:06:02,600 I know, you know, like Miley Cyrus did it last year on Flowers 112 00:06:02,600 --> 00:06:04,960 and I just love that feel of it. 113 00:06:04,960 --> 00:06:07,920 I mean, just what it does to the whole syncopation 114 00:06:07,920 --> 00:06:11,120 is so cool, really smart writing. 115 00:06:12,560 --> 00:06:16,720 I love the dirty techno bass sound you get 116 00:06:16,720 --> 00:06:19,520 with the live drums and you can tell that it's live playing 117 00:06:19,520 --> 00:06:21,800 or I hope to God, it's live playing, right? 118 00:06:21,800 --> 00:06:28,800 And like that nasty, senthy techno bass, 119 00:06:28,800 --> 00:06:32,760 key bass thing with live drums is really EQed well, 120 00:06:32,760 --> 00:06:35,920 very hip, great drive. 121 00:06:35,920 --> 00:06:39,600 And they've added some interesting effects to the guitar 122 00:06:39,600 --> 00:06:43,960 so that it sounds a little bit more like a synth in the verses. 123 00:06:43,960 --> 00:06:49,360 And you don't really hear like a true guitar sound 124 00:06:49,360 --> 00:06:51,040 per se until the bridge comes around. 125 00:06:51,040 --> 00:06:55,280 So I just, I thought that was really cool, 126 00:06:55,280 --> 00:06:57,480 as well great separation in the mix 127 00:06:57,480 --> 00:06:59,560 from the lead vocal to the rest of the mix. 128 00:06:59,560 --> 00:07:04,800 I really, going back to thoughts about the bridge there, 129 00:07:04,800 --> 00:07:07,280 I love how the bridge of the song 130 00:07:08,280 --> 00:07:11,640 doesn't follow the Nashville format or even the LA format 131 00:07:11,640 --> 00:07:15,520 of what I quote unquote bridge should be. 132 00:07:15,520 --> 00:07:18,440 I think some of that kind of harkens back to the fact 133 00:07:18,440 --> 00:07:23,360 that these guys, they've been a band for so long 134 00:07:23,360 --> 00:07:27,000 that they just don't necessarily care about the rules 135 00:07:27,000 --> 00:07:30,480 of what the industry tells you you should do for songwriting. 136 00:07:30,480 --> 00:07:36,800 And it really shows in the quality of how well this song comes off. 137 00:07:37,920 --> 00:07:42,560 The melody is killer, strong, love how it is tight 138 00:07:42,560 --> 00:07:46,680 with just about every instrumentation in the entire production. 139 00:07:46,680 --> 00:07:51,120 And then lastly, I would say the snare hits 140 00:07:51,120 --> 00:07:55,800 how they coincide with the chord progression too, 141 00:07:55,800 --> 00:07:57,600 especially with the two chord. 142 00:07:57,600 --> 00:07:59,760 Oh, that's the other thing, like really, 143 00:07:59,760 --> 00:08:02,080 really great chord changes. 144 00:08:02,080 --> 00:08:04,480 You don't hear a song based off of, you know, 145 00:08:04,480 --> 00:08:07,320 pulling hard off the three and pulling hard off the two 146 00:08:07,320 --> 00:08:11,360 as much, you know, so many times in pop or country, 147 00:08:11,360 --> 00:08:16,360 you know, you're doing a 1645 or 6251, you know, 148 00:08:16,360 --> 00:08:20,240 just the same old trite progressions. 149 00:08:20,240 --> 00:08:22,800 And I absolutely love those chord progressions. 150 00:08:22,800 --> 00:08:25,200 One, three, one, two, one, three, one, two. 151 00:08:25,200 --> 00:08:28,520 And then they really only pull off the dominant 152 00:08:28,520 --> 00:08:33,200 once in the song if I'm not mistaken. 153 00:08:34,920 --> 00:08:39,920 So just overall, figured you out is a vicious song broken down, 154 00:08:39,920 --> 00:08:46,280 I mean, it's just so well done for every aspect of it. 155 00:08:46,280 --> 00:08:51,280 Theory, production, melody, harmony, vocal delivery, 156 00:08:51,280 --> 00:08:57,040 great track, great track, absolutely great track. 157 00:08:57,040 --> 00:09:01,960 Okay, so let's move on to the next one. 158 00:09:01,960 --> 00:09:06,960 Let's check out Sheets of Brain from Oshianna Heart Song. 159 00:09:06,960 --> 00:09:10,240 I think these guys are number one on Wave, 160 00:09:10,240 --> 00:09:13,520 like not with this song right now, but with another one. 161 00:09:13,520 --> 00:09:15,560 But let's check them out. 162 00:09:15,560 --> 00:09:17,720 And then we'll break it down. 163 00:09:17,720 --> 00:09:18,560 Here we go. 164 00:09:18,560 --> 00:09:21,140 (upbeat music) 165 00:09:21,140 --> 00:09:30,280 ♪ Love is a pushin' ♪ 166 00:09:30,280 --> 00:09:32,720 ♪ Born in the morning ♪ 167 00:09:32,720 --> 00:09:35,120 ♪ You gave me goosebumps ♪ 168 00:09:35,120 --> 00:09:37,360 ♪ That was a warning ♪ 169 00:09:37,360 --> 00:09:39,920 ♪ Your eyes are the ocean ♪ 170 00:09:39,920 --> 00:09:42,360 ♪ Color is on them ♪ 171 00:09:42,360 --> 00:09:44,640 ♪ I wake up she ran ♪ 172 00:09:44,640 --> 00:09:47,000 ♪ Gold and burnin' ♪ 173 00:09:47,000 --> 00:09:50,680 ♪ I ain't, I don't know what you want ♪ 174 00:09:50,680 --> 00:09:53,080 ♪ I'm tryna stay afloat ♪ 175 00:09:53,080 --> 00:09:55,480 ♪ Caught in an undertone ♪ 176 00:09:55,480 --> 00:09:57,840 ♪ You would let me go ♪ 177 00:09:57,840 --> 00:10:00,200 ♪ Findin' forever brave ♪ 178 00:10:00,200 --> 00:10:03,880 ♪ You were marked in Dunin' and Burn ♪ 179 00:10:03,880 --> 00:10:07,320 ♪ We ain't calling in ♪ 180 00:10:07,320 --> 00:10:09,920 ♪ Sheets of Brain ♪ 181 00:10:09,920 --> 00:10:14,680 ♪ Thundered storm and baby, I'm away ♪ 182 00:10:14,680 --> 00:10:17,000 ♪ I can't get no sleep ♪ 183 00:10:17,000 --> 00:10:19,480 ♪ Sheets of Brain ♪ 184 00:10:19,480 --> 00:10:24,480 ♪ Tossin' her and baby, as we lay ♪ 185 00:10:24,480 --> 00:10:26,960 ♪ In a Sheets of Brain ♪ 186 00:10:26,960 --> 00:10:29,540 (upbeat music) 187 00:10:29,540 --> 00:10:37,440 ♪ Love is a poison ♪ 188 00:10:37,440 --> 00:10:39,800 ♪ We got our demons ♪ 189 00:10:39,800 --> 00:10:42,200 ♪ I set myself low ♪ 190 00:10:42,200 --> 00:10:44,640 ♪ Guilty of treason ♪ 191 00:10:44,640 --> 00:10:47,080 ♪ Eyes are the ocean ♪ 192 00:10:47,080 --> 00:10:49,480 ♪ Color of torment ♪ 193 00:10:49,480 --> 00:10:51,840 ♪ I wake up she ran ♪ 194 00:10:51,840 --> 00:10:54,160 ♪ Gold and burnin' ♪ 195 00:10:54,160 --> 00:10:56,920 ♪ I ain't, I don't know what you want ♪ 196 00:10:56,920 --> 00:10:59,960 ♪ I'm tryna stay afloat ♪ 197 00:10:59,960 --> 00:11:02,400 ♪ Caught in an undertone ♪ 198 00:11:02,400 --> 00:11:04,800 ♪ You would let me go ♪ 199 00:11:04,800 --> 00:11:07,160 ♪ Findin' forever brave ♪ 200 00:11:07,160 --> 00:11:10,840 ♪ You were marked in Dunin' and Burn ♪ 201 00:11:10,840 --> 00:11:14,240 ♪ We ain't calling in ♪ 202 00:11:14,240 --> 00:11:16,800 ♪ Sheets of Brain ♪ 203 00:11:16,800 --> 00:11:21,600 ♪ Thundered storm and baby, I'm away ♪ 204 00:11:21,600 --> 00:11:23,960 ♪ I can't get no sleep ♪ 205 00:11:23,960 --> 00:11:26,320 ♪ Sheets of Brain ♪ 206 00:11:26,320 --> 00:11:31,320 ♪ Tossin' her and baby, as we lay ♪ 207 00:11:31,320 --> 00:11:34,000 ♪ In a Sheets of Brain ♪ 208 00:11:34,000 --> 00:11:36,580 (upbeat music) 209 00:11:36,580 --> 00:11:44,960 - Love that tight little ending at the end. 210 00:11:44,960 --> 00:11:48,120 The song only clocks in at 2.30, 211 00:11:48,120 --> 00:11:49,960 which I guess is the new three minute, 212 00:11:49,960 --> 00:11:52,320 but it works well. 213 00:11:52,320 --> 00:11:55,880 It really works well and I love that abrupt little ending. 214 00:11:55,880 --> 00:12:00,880 The thing that really drew me in on this song was the space 215 00:12:00,880 --> 00:12:04,560 that is created with the rhythms 216 00:12:04,560 --> 00:12:06,440 all throughout the song. 217 00:12:06,440 --> 00:12:09,960 If you go back to what Miles Davis taught, 218 00:12:09,960 --> 00:12:13,560 Herbie Hancock about space, 219 00:12:13,560 --> 00:12:15,560 I think I've probably told the story before, 220 00:12:15,560 --> 00:12:20,560 but he told, Miles told Herbie to sit on your hands 221 00:12:20,560 --> 00:12:25,320 while you're playing essentially. 222 00:12:25,320 --> 00:12:27,480 Space is more important, right? 223 00:12:27,480 --> 00:12:32,800 And that's the first thing I thought of when I heard Sheets of Brain, 224 00:12:32,800 --> 00:12:35,040 Oceana Hearts on with this. 225 00:12:35,040 --> 00:12:39,880 I also really love that turn going into the pre-chorus 226 00:12:39,880 --> 00:12:41,960 or if you wanna call it the second half of the verse. 227 00:12:41,960 --> 00:12:46,560 There's a nice little twist that they use with the progression. 228 00:12:46,560 --> 00:12:50,920 Chorus chords are very strong, love the buildup. 229 00:12:50,920 --> 00:12:52,880 There's a really great, 230 00:12:52,880 --> 00:12:56,400 there's four great textures going on in the chorus that I love. 231 00:12:56,400 --> 00:13:01,400 Number one is they take the verb or the grease off of the vocals 232 00:13:01,400 --> 00:13:06,400 from the verses when the chorus comes up 233 00:13:06,400 --> 00:13:08,240 and they go with a drier approach 234 00:13:08,240 --> 00:13:09,720 on the lead vocal in the chorus, 235 00:13:09,720 --> 00:13:10,960 which I think is very smart. 236 00:13:10,960 --> 00:13:12,760 That's the first texture that I love. 237 00:13:12,760 --> 00:13:15,720 Number two is the sound of the acoustic. 238 00:13:15,720 --> 00:13:19,880 Number three is the trash drum sound. 239 00:13:19,880 --> 00:13:23,600 And then number four, the how it fills itself out 240 00:13:23,600 --> 00:13:25,720 in the soundscape with the rest of the modern sounds. 241 00:13:25,720 --> 00:13:28,120 I think it's whoever produced this 242 00:13:28,120 --> 00:13:32,480 and I can't quite figure out if this is just a galsing in 243 00:13:32,480 --> 00:13:35,880 or if it is her and her musical partner doing this, 244 00:13:35,880 --> 00:13:39,080 I can't quite tell what's going on from Instagram or TikTok 245 00:13:39,080 --> 00:13:39,680 or whatever. 246 00:13:39,680 --> 00:13:45,080 But there's some really smart production going on in this song 247 00:13:45,080 --> 00:13:46,640 and as I said at the start, 248 00:13:46,640 --> 00:13:49,080 what drew me into it was the space. 249 00:13:50,040 --> 00:13:55,520 I also love the doubling of the vocal on the chorus. 250 00:13:55,520 --> 00:13:57,800 Not a lot of people do that anymore. 251 00:13:57,800 --> 00:13:59,480 It adds a great amount of depth 252 00:13:59,480 --> 00:14:04,320 and I love the selections that they made in doing it. 253 00:14:04,320 --> 00:14:08,080 Sometimes you want to get that vocal just absolutely dead nuts, 254 00:14:08,080 --> 00:14:10,160 soup to nuts tight. 255 00:14:10,160 --> 00:14:12,480 On that second track, sometimes you just, 256 00:14:12,480 --> 00:14:15,160 you want it to be just a little loose 257 00:14:15,160 --> 00:14:16,760 and that's what I think that they did on this. 258 00:14:16,760 --> 00:14:19,400 And to me, it was very, very strong. 259 00:14:19,400 --> 00:14:25,720 This song has the ability to sound very, very intimate 260 00:14:25,720 --> 00:14:28,000 as well as very massive in the same setting 261 00:14:28,000 --> 00:14:30,040 and that's hard to do. 262 00:14:30,040 --> 00:14:32,440 So Kudos to the production team on this. 263 00:14:32,440 --> 00:14:34,760 Obviously it's a romantic song. 264 00:14:34,760 --> 00:14:36,320 So you want to have that intimate moment 265 00:14:36,320 --> 00:14:41,240 but you also want to have the large explosive feel of a pop song 266 00:14:41,240 --> 00:14:43,120 which I think they do very well. 267 00:14:43,120 --> 00:14:46,120 And then lastly, I will say that I think her voice 268 00:14:46,120 --> 00:14:49,480 really matches not only the instrumentation 269 00:14:49,480 --> 00:14:52,440 but the storytelling of the song. 270 00:14:52,440 --> 00:14:55,040 This is very well recorded, very well mixed 271 00:14:55,040 --> 00:14:56,160 and very well mastered. 272 00:14:56,160 --> 00:14:58,800 And those are three different things entirely. 273 00:14:58,800 --> 00:15:02,640 So Kudos to Oshihana Heart Song 274 00:15:02,640 --> 00:15:05,360 and be it just the Gowon singing 275 00:15:05,360 --> 00:15:07,520 or the duo that's creating the stuff. 276 00:15:07,520 --> 00:15:09,840 Nice track, guys, really nice track. 277 00:15:09,840 --> 00:15:14,400 Looking forward to what you guys come up with next. 278 00:15:14,400 --> 00:15:15,240 All right. 279 00:15:16,200 --> 00:15:20,560 By the way, that song was key of C, about 98 BPM. 280 00:15:20,560 --> 00:15:23,400 And if you were curious about the key in the BPM 281 00:15:23,400 --> 00:15:27,840 for the Dwarfless track, that was the key of the people, G 282 00:15:27,840 --> 00:15:30,040 and about 79 BPM. 283 00:15:30,040 --> 00:15:31,080 All right, so let's switch it up. 284 00:15:31,080 --> 00:15:33,840 Now we're gonna jump over to Seaminer, 285 00:15:33,840 --> 00:15:36,160 about 152 BPM. 286 00:15:36,160 --> 00:15:41,880 And I love this band, IRO, I-R-O-H. 287 00:15:42,720 --> 00:15:47,360 We're gonna check out their song called The Fever. 288 00:15:47,360 --> 00:15:48,200 Here we go. 289 00:15:48,200 --> 00:15:49,560 If you dig it, you gotta boost it. 290 00:15:49,560 --> 00:15:52,160 (upbeat music) 291 00:15:52,160 --> 00:15:56,640 ♪ I see the snow in the wind ♪ 292 00:15:56,640 --> 00:16:01,640 ♪ Twisting stars and I can hear them now ♪ 293 00:16:01,640 --> 00:16:08,040 ♪ I've been hearing them and been ♪ 294 00:16:08,040 --> 00:16:14,280 ♪ Jason Holt, the love thing you feel ♪ 295 00:16:14,280 --> 00:16:17,560 ♪ I'm running, they sign here ♪ 296 00:16:17,560 --> 00:16:19,160 ♪ Here's your beautiful feet ♪ 297 00:16:19,160 --> 00:16:21,320 ♪ Break the rules for us ♪ 298 00:16:21,320 --> 00:16:24,920 ♪ And I run in place, I can't get you ♪ 299 00:16:24,920 --> 00:16:26,000 ♪ You're afraid ♪ 300 00:16:26,000 --> 00:16:28,000 ♪ You're afraid ♪ 301 00:16:28,000 --> 00:16:31,160 ♪ You're supposed to be a little more ♪ 302 00:16:31,160 --> 00:16:33,160 ♪ A little more ♪ 303 00:16:33,160 --> 00:16:34,160 ♪ A little more ♪ 304 00:16:34,160 --> 00:16:39,160 ♪ Grab my keys, you know what I'm gonna do ♪ 305 00:16:39,160 --> 00:16:44,640 ♪ Lost my friends, and I lost you ♪ 306 00:16:46,640 --> 00:16:50,320 ♪ They come from the world, second man ♪ 307 00:16:50,320 --> 00:16:52,680 ♪ The space, they stay away ♪ 308 00:16:52,680 --> 00:16:55,320 ♪ I'm running, they sign here ♪ 309 00:16:55,320 --> 00:16:57,200 ♪ Here's your beautiful feet ♪ 310 00:16:57,200 --> 00:16:59,800 ♪ You're afraid, they come from the world ♪ 311 00:16:59,800 --> 00:17:00,800 ♪ A little more ♪ 312 00:17:00,800 --> 00:17:02,120 ♪ I can't get you ♪ 313 00:17:02,120 --> 00:17:05,440 ♪ You're afraid ♪ 314 00:17:05,440 --> 00:17:08,840 ♪ You're supposed to be a little more ♪ 315 00:17:08,840 --> 00:17:10,280 ♪ A little more ♪ 316 00:17:10,280 --> 00:17:12,280 ♪ I'm a man ♪ 317 00:17:12,280 --> 00:17:15,320 ♪ I'm a c'mon, c'mon, done ♪ 318 00:17:15,320 --> 00:17:18,880 ♪ Rear with a smile feet on ♪ 319 00:17:18,880 --> 00:17:21,040 ♪ From the commemoration ♪ 320 00:17:21,040 --> 00:17:22,440 ♪ Come to the kelp ♪ 321 00:17:22,440 --> 00:17:24,160 ♪ When the storm ends ♪ 322 00:17:24,160 --> 00:17:25,640 ♪ I'll go ♪ 323 00:17:25,640 --> 00:17:27,660 ♪ Is coming under ♪ 324 00:17:27,660 --> 00:17:29,540 ♪ Rear with a smile ♪ 325 00:17:29,540 --> 00:17:31,480 ♪ Rear with a smile ♪ 326 00:17:31,480 --> 00:17:33,680 ♪ For a combination ♪ 327 00:17:33,680 --> 00:17:37,680 ♪ Of your true mind ♪ 328 00:17:37,680 --> 00:17:43,040 ♪ And it's being a joke to see ♪ 329 00:17:43,040 --> 00:17:48,040 ♪ I won't let you go to sleep ♪ 330 00:17:48,040 --> 00:17:52,760 ♪ I won't let you go to sleep ♪ 331 00:17:52,760 --> 00:17:56,760 ♪ I can't let you go to sleep ♪ 332 00:17:56,760 --> 00:18:01,760 ♪ I won't let you go to sleep ♪ 333 00:18:01,760 --> 00:18:07,200 ♪ I learned the lessons I see ♪ 334 00:18:07,200 --> 00:18:10,240 ♪ I know I'm a fool ♪ 335 00:18:10,240 --> 00:18:15,240 ♪ I learned the lessons I see too often ♪ 336 00:18:15,240 --> 00:18:17,920 ♪ I've been hearing ♪ 337 00:18:17,920 --> 00:18:20,240 ♪ I've been hearing ♪ 338 00:18:20,240 --> 00:18:22,560 ♪ You're a fool ♪ 339 00:18:22,560 --> 00:18:23,960 ♪ Just a fool ♪ 340 00:18:23,960 --> 00:18:28,240 ♪ Gluttoned different rules ♪ 341 00:18:28,240 --> 00:18:30,640 ♪ I won't replace that kid ♪ 342 00:18:30,640 --> 00:18:32,480 ♪ Get your job out of the field ♪ 343 00:18:32,480 --> 00:18:34,640 ♪ Praise the hero for us ♪ 344 00:18:34,640 --> 00:18:36,880 ♪ I won't replace that kid ♪ 345 00:18:36,880 --> 00:18:38,080 ♪ Get your job ♪ 346 00:18:38,080 --> 00:18:39,880 ♪ Get your work ♪ 347 00:18:39,880 --> 00:18:44,560 ♪ Sing for your praise ♪ 348 00:18:44,560 --> 00:18:49,160 ♪ The plans of men are coming ♪ 349 00:18:49,160 --> 00:18:50,680 ♪ Coming or done ♪ 350 00:18:50,680 --> 00:18:55,680 ♪ The reptile beans of violence ♪ 351 00:18:55,680 --> 00:18:57,200 ♪ Combination ♪ 352 00:18:57,200 --> 00:19:01,760 ♪ The plans of men are coming ♪ 353 00:19:01,760 --> 00:19:03,400 ♪ Coming or done ♪ 354 00:19:03,400 --> 00:19:08,080 ♪ The plans of violence ♪ 355 00:19:08,080 --> 00:19:10,680 ♪ Combination ♪ 356 00:19:10,680 --> 00:19:12,600 - So much to love about the song, 357 00:19:12,600 --> 00:19:14,960 but let me start with the very beginning 358 00:19:14,960 --> 00:19:16,720 and what I call an all-start, 359 00:19:16,720 --> 00:19:18,440 which is where everybody starts, 360 00:19:18,440 --> 00:19:20,560 at the same time, everybody's in, 361 00:19:20,560 --> 00:19:22,400 bought a ping-pong, bought a boom. 362 00:19:22,400 --> 00:19:25,720 This is a brilliant example of how to do it. 363 00:19:25,720 --> 00:19:27,600 Let me give you the beginning again 364 00:19:27,600 --> 00:19:29,600 so you can hear what I'm talking about. 365 00:19:29,600 --> 00:19:36,720 ♪ I know I learned the lessons I see too often ♪ 366 00:19:36,720 --> 00:19:38,520 I mean, that's just perfect. 367 00:19:38,520 --> 00:19:40,680 Everybody's at, boom, you got a snare fill 368 00:19:40,680 --> 00:19:42,560 and then everybody comes flying in 369 00:19:42,560 --> 00:19:45,920 and you just are bolted out of sleep 370 00:19:45,920 --> 00:19:47,840 or waking up from your coma 371 00:19:47,840 --> 00:19:49,840 or brought out of the grave, 372 00:19:49,840 --> 00:19:51,880 whatever the hell it is, you want to call it. 373 00:19:51,880 --> 00:19:53,920 Absolutely love the all-start. 374 00:19:53,920 --> 00:19:56,360 That's one of the better ones that I've ever heard. 375 00:19:56,360 --> 00:20:01,320 Another thing that I love about this track is that 376 00:20:01,320 --> 00:20:05,600 it is very easy to lose the vocals in the mix 377 00:20:05,600 --> 00:20:07,960 when you have such a heavy song. 378 00:20:07,960 --> 00:20:10,760 But the mix on this is really well done 379 00:20:10,760 --> 00:20:12,320 and I hope people are sticking around 380 00:20:12,320 --> 00:20:13,960 and listening to all of these comments 381 00:20:13,960 --> 00:20:16,440 because I think if you look through, 382 00:20:16,440 --> 00:20:18,880 or listen through a lot of the stuff that's on way, Blake, 383 00:20:18,880 --> 00:20:22,120 or a lot of the stuff that's in Ellen Beats, unfortunately, 384 00:20:22,120 --> 00:20:24,400 there is an overwhelming supply of stuff 385 00:20:24,400 --> 00:20:27,720 that is not mixed well, that is not produced well, 386 00:20:27,720 --> 00:20:29,120 that is not in tune 387 00:20:29,120 --> 00:20:33,040 and it just gets in the way of everybody 388 00:20:33,040 --> 00:20:35,760 who's trying to take this seriously. 389 00:20:35,760 --> 00:20:38,360 So I would hope that anybody who, you know, 390 00:20:38,360 --> 00:20:40,680 before you put your stuff up on the web, 391 00:20:40,680 --> 00:20:42,640 I don't care if it's here or Spotify, 392 00:20:42,640 --> 00:20:44,040 have somebody else listen to it 393 00:20:44,040 --> 00:20:45,320 and give you an honest critique 394 00:20:45,320 --> 00:20:47,320 as to whether or not everything is in pitch 395 00:20:47,320 --> 00:20:51,160 and on time, 'cause that'll save everybody a lot of trouble. 396 00:20:51,160 --> 00:20:56,200 But again, the mix on this is exceptional 397 00:20:56,200 --> 00:20:57,720 and the other part of the mix 398 00:20:57,720 --> 00:21:01,200 that I just absolutely adore is the bass and the kick EQ. 399 00:21:01,200 --> 00:21:05,040 It is on point throughout the entire song 400 00:21:05,040 --> 00:21:09,160 and the guitar riff, how that is EQed, 401 00:21:09,160 --> 00:21:12,680 how the guitars are EQed, fantastic, top tier. 402 00:21:12,680 --> 00:21:17,960 The melodies on the verses and throughout the song 403 00:21:17,960 --> 00:21:22,960 are very, very, very strong, especially on the third verse 404 00:21:22,960 --> 00:21:27,000 where they're repeating the first verse again, 405 00:21:27,000 --> 00:21:30,480 but those backing harmonies on that third verse 406 00:21:31,440 --> 00:21:33,040 are fantastic. 407 00:21:33,040 --> 00:21:37,000 I love the bridge breakdown, how it's drum driven. 408 00:21:37,000 --> 00:21:39,760 I love the ascending chord progression in the chorus. 409 00:21:39,760 --> 00:21:43,280 These guys are really smart writers 410 00:21:43,280 --> 00:21:45,040 and whoever is producing their stuff 411 00:21:45,040 --> 00:21:48,480 is guiding this band in the proper direction. 412 00:21:48,480 --> 00:21:51,320 This is one of the better bands that I have come across 413 00:21:51,320 --> 00:21:52,880 in the V for V space. 414 00:21:52,880 --> 00:21:58,920 Yeah, I dig everything that these guys are doing. 415 00:21:58,920 --> 00:22:02,480 Great writing, great engineering, great production. 416 00:22:02,480 --> 00:22:04,320 Great vocals too. 417 00:22:04,320 --> 00:22:06,640 All of it, just quality shit, man. 418 00:22:06,640 --> 00:22:10,200 Quality shit, so I hope you guys are sending them some sats 419 00:22:10,200 --> 00:22:14,320 and I hope the band is sending some sats to their producer. 420 00:22:14,320 --> 00:22:18,480 All right, last track that we're gonna get to, 421 00:22:18,480 --> 00:22:22,840 we are going to listen to, 422 00:22:22,840 --> 00:22:24,640 quote unquote, my favorite band 423 00:22:24,640 --> 00:22:26,440 and I love the name of this band. 424 00:22:26,440 --> 00:22:30,040 I mean, if you're that bauzy with calling your band, 425 00:22:30,040 --> 00:22:31,840 my favorite band, well, 426 00:22:31,840 --> 00:22:33,480 then I'm definitely gonna give it a listen. 427 00:22:33,480 --> 00:22:34,480 So let's give it a listen. 428 00:22:34,480 --> 00:22:36,640 We're gonna listen to a track called Never Going Back 429 00:22:36,640 --> 00:22:41,640 in the Key of A, about 93 BPM or 186, 430 00:22:41,640 --> 00:22:44,920 I don't care what you call it, 431 00:22:44,920 --> 00:22:49,920 but this is Never Going Back by my favorite band. 432 00:22:49,920 --> 00:22:52,500 (upbeat music) 433 00:22:52,500 --> 00:22:55,080 (upbeat music) 434 00:22:55,080 --> 00:23:13,300 ♪ Break up, I wasted hours of sleep ♪ 435 00:23:13,300 --> 00:23:15,900 ♪ In the back of my mind, my soul feels weird ♪ 436 00:23:15,900 --> 00:23:18,420 ♪ About no one's different ♪ 437 00:23:18,420 --> 00:23:20,860 ♪ About to think you're different ♪ 438 00:23:20,860 --> 00:23:23,660 ♪ She's coming back to my old ways ♪ 439 00:23:23,660 --> 00:23:26,340 ♪ My old past and the things I'm changing ♪ 440 00:23:26,340 --> 00:23:29,340 ♪ Now I'm trying to grow right now ♪ 441 00:23:29,340 --> 00:23:32,340 ♪ This doesn't even show ♪ 442 00:23:32,340 --> 00:23:34,920 (upbeat music) 443 00:23:34,920 --> 00:23:43,660 ♪ You know myself in the mirror ♪ 444 00:23:43,660 --> 00:23:46,260 ♪ I seen my best two years ago ♪ 445 00:23:46,260 --> 00:23:48,700 ♪ Where two things were so much clearer ♪ 446 00:23:48,700 --> 00:23:50,940 ♪ I'm already late now, some two ♪ 447 00:23:50,940 --> 00:23:53,780 ♪ I've gotta try to pick that one this time ♪ 448 00:23:53,780 --> 00:23:56,460 ♪ Turns out they just wasn't right ♪ 449 00:23:56,460 --> 00:23:58,860 ♪ I feel I'm falling back again ♪ 450 00:23:58,860 --> 00:24:01,620 ♪ I feel I'm falling back again ♪ 451 00:24:01,620 --> 00:24:06,620 ♪ Yeah, no, never run back again ♪ 452 00:24:06,620 --> 00:24:11,620 ♪ Or you will never have a string to hand ♪ 453 00:24:11,620 --> 00:24:16,620 ♪ Stand by yourself and be in my age ♪ 454 00:24:16,620 --> 00:24:21,620 ♪ You are the control in your life ♪ 455 00:24:21,620 --> 00:24:24,220 ♪ Break up, I was in a sleep ♪ 456 00:24:24,220 --> 00:24:26,940 ♪ In the back of my mind, my soul feels weird ♪ 457 00:24:26,940 --> 00:24:29,500 ♪ About no one's different ♪ 458 00:24:29,500 --> 00:24:32,180 ♪ About to think you're different ♪ 459 00:24:32,180 --> 00:24:34,740 ♪ She's coming back to my old ways ♪ 460 00:24:34,740 --> 00:24:37,700 ♪ My old past and the things I'm changing ♪ 461 00:24:37,700 --> 00:24:40,460 ♪ Now I'm trying to grow right now ♪ 462 00:24:40,460 --> 00:24:42,380 ♪ This doesn't even show ♪ 463 00:24:42,380 --> 00:24:46,380 ♪ And I'm never run back again ♪ 464 00:24:47,340 --> 00:24:52,340 ♪ Or you will never have a string to stand ♪ 465 00:24:52,340 --> 00:24:57,340 ♪ Stand by yourself and be in my age ♪ 466 00:24:57,340 --> 00:25:02,340 ♪ You are the control in your life ♪ 467 00:25:02,340 --> 00:25:05,340 ♪ Yeah, no, never run back again ♪ 468 00:25:05,340 --> 00:25:07,740 ♪ Yeah, no, never run back again ♪ 469 00:25:07,740 --> 00:25:12,740 ♪ Or you will never have a string to stand ♪ 470 00:25:13,580 --> 00:25:16,160 (upbeat music) 471 00:25:16,160 --> 00:25:21,160 ♪ Yeah, no, never run back again ♪ 472 00:25:21,160 --> 00:25:23,740 (upbeat music) 473 00:25:23,740 --> 00:25:48,840 ♪ Yeah, no, never run back again ♪ 474 00:25:48,840 --> 00:25:53,840 ♪ Or you will never have a string to stand ♪ 475 00:25:53,840 --> 00:25:58,880 ♪ Stand by yourself and be in my age ♪ 476 00:25:58,880 --> 00:26:03,880 ♪ You are the control in your life ♪ 477 00:26:03,880 --> 00:26:08,880 ♪ You are the control in your life ♪ 478 00:26:15,240 --> 00:26:19,240 There is a lot to love about that band. 479 00:26:19,240 --> 00:26:22,240 They kind of remind me of the chili peppers, 480 00:26:22,240 --> 00:26:25,200 maybe a little bit of primus. 481 00:26:25,200 --> 00:26:27,760 That song basically, or that whole project, 482 00:26:27,760 --> 00:26:29,320 I think came out in 2005. 483 00:26:29,320 --> 00:26:30,880 So we're basically talking about stuff 484 00:26:30,880 --> 00:26:32,600 that's 20 years old now. 485 00:26:32,600 --> 00:26:35,640 And another band that it kind of reminds me of 486 00:26:35,640 --> 00:26:37,480 is Fall Out Boy. 487 00:26:37,480 --> 00:26:43,560 There's, it's kind of funk rock with some emo, right? 488 00:26:44,560 --> 00:26:49,560 And I listen to a lot of their tracks up on Wave Lake. 489 00:26:49,560 --> 00:26:56,280 And they are so impressive rhythmically. 490 00:26:56,280 --> 00:27:01,240 One of the, everything from all of the guitar riffs 491 00:27:01,240 --> 00:27:05,840 and the finger tapping on the bass and the drums, 492 00:27:05,840 --> 00:27:09,920 rhythmically these guys were, 493 00:27:09,920 --> 00:27:11,200 and I hope they still are. 494 00:27:11,200 --> 00:27:13,200 I hope they're still together. 495 00:27:13,800 --> 00:27:15,720 Amazing, really solid band. 496 00:27:15,720 --> 00:27:20,640 Let me be completely honest 497 00:27:20,640 --> 00:27:23,360 and I'm not trying to talk shit 498 00:27:23,360 --> 00:27:25,320 and I'm not trying to bring anybody down. 499 00:27:25,320 --> 00:27:32,960 But I could not help but feel when I listen to these songs. 500 00:27:32,960 --> 00:27:39,120 As much as I loved the band and I loved the lyrics 501 00:27:39,120 --> 00:27:40,720 and I loved the melody, 502 00:27:41,960 --> 00:27:46,120 I would love to see this band get back together 503 00:27:46,120 --> 00:27:50,320 even if they're in their 40s or 50s now. 504 00:27:50,320 --> 00:27:52,040 I mean, at this 20 years later, 505 00:27:52,040 --> 00:27:54,440 I'd love to see this band get back together 506 00:27:54,440 --> 00:27:58,560 and I would love to see them hand the mic over 507 00:27:58,560 --> 00:28:01,320 to a female lead. 508 00:28:01,320 --> 00:28:05,360 Somebody like a Gwen Stefani type thing 509 00:28:05,360 --> 00:28:10,360 because I think if like that to me is what's missing 510 00:28:11,240 --> 00:28:12,080 about this stuff. 511 00:28:12,080 --> 00:28:13,760 I love the band, don't get me wrong. 512 00:28:13,760 --> 00:28:15,520 And who knows, I'm probably gonna get some hate mail 513 00:28:15,520 --> 00:28:18,600 for saying this but I just, I couldn't help 514 00:28:18,600 --> 00:28:23,080 but feel that way as I was listening to all of these songs. 515 00:28:23,080 --> 00:28:24,880 I'm like, God damn, they're really good 516 00:28:24,880 --> 00:28:27,120 but like something was gnawing at me. 517 00:28:27,120 --> 00:28:30,080 It's like, man, how, like if I was producing this band, 518 00:28:30,080 --> 00:28:31,440 what would I do? 519 00:28:31,440 --> 00:28:33,920 And what I would do is I would get a female lead singer 520 00:28:33,920 --> 00:28:34,760 in there. 521 00:28:34,760 --> 00:28:36,200 So I hope this band is still together. 522 00:28:36,200 --> 00:28:37,840 Even if they're in their 40s or 50s, 523 00:28:37,840 --> 00:28:39,680 fuck it, man, get out there and play. 524 00:28:39,680 --> 00:28:43,840 But hey, but I would love to hear this band 525 00:28:43,840 --> 00:28:44,960 with a female lead singer. 526 00:28:44,960 --> 00:28:47,760 I would just love to hear what these songs sound like. 527 00:28:47,760 --> 00:28:52,040 And I hope that they don't take it the wrong way 528 00:28:52,040 --> 00:28:55,760 and I hope that they don't send me any hate mail. 529 00:28:55,760 --> 00:28:58,000 I think that, you know, if you're gonna do podcasting, 530 00:28:58,000 --> 00:28:59,160 you gotta be honest. 531 00:28:59,160 --> 00:29:01,640 I'm not gonna come out here and talk about the songs 532 00:29:01,640 --> 00:29:03,000 they don't like and make fun of people 533 00:29:03,000 --> 00:29:06,280 who put songs up that are out of tune or poorly produced. 534 00:29:06,280 --> 00:29:08,440 That's not fair. 535 00:29:08,440 --> 00:29:11,880 But if I hear something and I think it still has some life to it 536 00:29:11,880 --> 00:29:14,560 and still has some value to it and there's a way 537 00:29:14,560 --> 00:29:17,600 to take it to the next level, I'm gonna throw it out there 538 00:29:17,600 --> 00:29:20,440 and see what people say. 539 00:29:20,440 --> 00:29:23,720 And I love the name of the band. 540 00:29:23,720 --> 00:29:25,640 I love the work that they put up. 541 00:29:25,640 --> 00:29:28,000 And I hope they're still playing. 542 00:29:28,000 --> 00:29:30,600 It would be amazing to see these guys live. 543 00:29:30,600 --> 00:29:35,600 I just think it, I would love to see it with a female lead 544 00:29:36,720 --> 00:29:40,920 in this and what it would do to the dynamic of this project. 545 00:29:40,920 --> 00:29:42,680 So that's it. 546 00:29:42,680 --> 00:29:43,680 That's all I got for you. 547 00:29:43,680 --> 00:29:48,680 That is four songs for the fans and power music review episode 10. 548 00:29:48,680 --> 00:29:54,200 Shout out to Absolute Absalom over there in Switzerland 549 00:29:54,200 --> 00:29:58,280 who is providing us with the killer bumper music 550 00:29:58,280 --> 00:30:01,040 that you are hearing throughout the entire show. 551 00:30:01,040 --> 00:30:06,400 And can't thank all of the podcasters 552 00:30:06,400 --> 00:30:09,880 who support this show, all of the developers who support this show. 553 00:30:09,880 --> 00:30:13,160 Everybody in the V4V space, shout out to Dolby Doss 554 00:30:13,160 --> 00:30:16,520 at RSS Blue for the amazing job that he does 555 00:30:16,520 --> 00:30:19,480 and teaching us and helping us with the serving up 556 00:30:19,480 --> 00:30:22,880 this fine show in the podcasting 2.0 world. 557 00:30:22,880 --> 00:30:24,720 Shout out to Adam Curry and Dave Jones 558 00:30:24,720 --> 00:30:26,440 for all the work that you guys do. 559 00:30:26,440 --> 00:30:32,400 And Drep Scott and all the fabulous folks at Bitcoin Park 560 00:30:32,400 --> 00:30:36,120 here in Smash Vegas, right? 561 00:30:36,440 --> 00:30:38,000 All right guys, that'll do it. 562 00:30:38,000 --> 00:30:42,480 I hope you guys had a safe and happy New Year's Eve 563 00:30:42,480 --> 00:30:44,840 and look forward to a great year in 2024. 564 00:30:44,840 --> 00:30:47,760 Smile for the mugshot. 565 00:30:47,760 --> 00:30:48,720 We'll talk to you later. 566 00:30:48,720 --> 00:30:51,300 (upbeat music) 567 00:30:51,300 --> 00:31:01,300 (upbeat music)