Black Cobra on music, life and time travel
An interview by Confinement Loaf
Listening to the heavy music duo Black Cobra is great, seeing Black Cobra live is jaw dropping, but talking with them for a couple of hours… mind blowing. On May 1, 2010 we had all of those experiences. We talked with them on the sidewalk, in the darkness after their concert and entered a place of space and mind. We are very pleased to bring you a glimpse into the intensity of the minds of a drummer named Rafa Martinez and a guitarist/ vocalist named Jason Landrian who together, are Black Cobra.
CL: When we drove up here for the show today, we listened to Black Cobra. What music, if any, were you listening to on your way here to the show today? Or spending so much time in the van on tour, what music keeps you going on the road?
BC: (Jason) As we were driving in to town today, I think Repulsion was playing, Horrified, earlier today we had some Bohren and Der Club of Gore and some Sunn O))) in the van, The Crown, Blue Oyster Cult. I think today there was more metal playing. It runs the gamut, kind of depending on our mood I guess. There’s always a mixture of stuff in the van though.
CL: Touring must be grueling as a two piece band.
BC: (Rafa) Well, we have a merch. guy with us so it’s three of us and we split up the driving. Especially in the west the distances are a lot longer starting from Texas on westward through New Mexico, Colorado, and this area obviously. But the music, it revitalizes you in a way. I know it sounds kind of corny, but it does, but after you play, at least for me it does. Sometimes at night we drive another hundred miles or two hundred miles and I’m perfectly awake so I’m fine.
CL: So, I know you started working together long distance, years ago, through the mail, and phone calls and did you send tapes? How did you actually communicate with each other? Did you use notation? How did you deal with concepts?
BC: (Jason) Rafa and I have known each other for a long time, since ’96, so fourteen, fifteen years now. We went to school together, played in a couple local bands together in Miami. We grew up in Miami, Florida, that’s where we’re from originally. We’ve always kept in touch and we’ve written music together before. So even though this was long distance it wasn’t something entirely new for both of us. But when we started working, Rafa and I would send c.d.s back and forth in the mail. He is also a guitar player so he would record riffs and send them to me, I would record ideas, send them to him. We’d go back and forth, call each other on the phone and listen to the c.d.s at the same time. We’d be like, I like this or that, we’d pick and choose ideas and expand on them. Like he would add certain drumbeats or I would add guitar parts or certain drums in the computer on a drum machine or whatever. Try and come up with vocal ideas on the phone together just like rhythms, placements, stuff like that. That’s kind of how we started doing this stuff just because I was living in New York at the time and he was living in Los Angeles so, we knew we wanted to play music together so we just said fuck it let’s just do it and see if it can work, we think it did. Now we both live in San Francisco so it’s cool.
CL: How has being in the same place changed your music, what you record?
BC: (Rafa) Well being in the same room together, I mean the interaction, it’s more personal just because we’re right there working on stuff. But I mean it’s odd, it was interesting doing it long distance because in the beginning we didn’t have a schedule. We didn’t have a release date for an album, we didn’t have a record label or anything like that, that’s why it took like two or three years to put the first album together because we were just seeing what would happen. But then after that we had deadlines, the second album we did in like two weeks but that was living in the same city. That has helped us experiment more, there wasn’t as much lag time in between working on things. We’d be there every day hammering out things and being in front of each other and going to concerts together and seeing movies together and things like that where immediately we could jump on something. Where before, you might have forgotten something, or one of us got excited about something and wrote it down and then nothing ever happened so that made things a lot different. Also I think the touring more than anything, we became better players, I like to think, from doing the amount of touring and playing with other bands, seeing how other bands worked. This for the both of us is the most touring we’ve ever done. We just played our 500th show last week in four years we did that. We had both toured before but not to this extent. So learning how to tour overseas, in Japan, in Australia, in Europe, and the U.K…seeing how things are done in other parts of the world, how other bands are on the other side of the world, for us it definitely opens your eyes in different ways, and I think even if you don’t realize it I think subconsciously that comes through. Knowing there are all these other styles and other approaches throughout the world. So, yeah it definitely has changed, for the better, I like to think.
CL: How do you deal with playing over seas exactly, like at a festival? Do you ship your equipment? Do you bring your things? What is provided?
BC: (Jason) They actually provide certain things or you have to rent them or whatever. But usually we can get some pretty decent gear over there. I bring my guitars and Rafa brings his cymbals and snare drum, just like the bare essentials that we need. But amps and cabinets are pretty easy to come by over there. Europe at least has a really good system for touring bands. There are actually a lot of companies that rent vans specifically for bands to tour in and a lot of equipment rental companies. Japan actually has a lot of in house gear. A lot of the venues will have a Marshall full stack and an Ampeg SVT cabinet or something, you know, just as a standard set up and a lot of them actually have drum sets too. So we’ve never shipped our gear it’s usually provided or rented.
CL: Your set up on stage is pretty minimal and you have a huge sound, it’s an incredible amount of sound. A lot of young people today are interested in starting bands. Do you have any advice for anyone with only minimal gear who wants to create more sound than let’s say what you could create with what you can get from just an acoustic guitar? What should they look for and how should they build their sound?
BC: (Jason) Yeah. With us at least, we took a lot of time coming up with a tuning that we really felt comfortable with so that would cover a lot of the frequencies since there are only the two of us. But we also experimented with different amp set ups, I play through a bass and a guitar amp both and also just different eq.s as far as pedals and the head eq.s and basically, the advice I’d give to anyone would be just take your time and just really dial it in you know. Like I said we took a lot of time just experimenting with different set ups, pedals and tunings and stuff like that and that’s, I think, the most important thing is really just taking the time and if there’s some gear you think you need you know put aside the money and try to get what it is you think you need. But yeah, just really taking the time I think is really good.
CL: Do you do any layering, any looping, do you use any loop effects? I didn’t notice any or too much of anything like that. You guys just play like hell.
BC: (Jason) Yeah pretty much. There are some minimal samples that I use, kind of background noises in a couple of songs but they are very sparse. Ninety percent of the set, I don’t use samples or anything like that and I haven’t used any looping or anything like that ever.
CL: It’s really impressive. You guys have been playing music together since you were young. Was music something each of you grew up with from small children in your homes? Was it something that was supported by your families or was it something that was you against everyone else with your guitars?
BC: (Rafa) No, I came from a kind of a musical background. My father was a guitar player. He played Flamenco, Spanish guitar, but way before I was even born. I mean there was a guitar in a case in a closet in my house but it was never taken out. I started playing guitar when I was twelve, my dad was supportive, he loves music. I grew up on classical music mainly. He and I both started playing piano at the same time, I was fifteen and he was like fifty. He encouraged me, definitely, when I told him I wanted to go to music school he said do it but just do a good job. I went to Berklee School of Music in Boston for guitar and I went to Musicians Institute for percussion after that. Yeah, and my aunt plays flute in the philharmonic. My brother too, he was like my hero, and watching him play guitar, I just had to play guitar too. He quit but then I kept going. So it was kind of odd, like he’s the reason I started playing but he wasn’t into it anymore but for some reason it became my life. Yeah, I’ve been very fortunate that my parents have supported me in that way. But I mean they have no idea about this scene, all they know is the Rolling Stones, The Beatles maybe, and maybe, I don’t know, Madonna or something, like whatever is on television.
CL: They have heard your music haven’t they?
BC: (Rafa) Yeah, they have but they don’t know about the club circuit and labels and underground. They just live, you know, seeing whatever is on television and stuff like that. But they are supportive and they’ve always helped me out for sure.
(Jason) Yeah, my mom and my sister both played piano when I was growing up so I kind of grew up around that. My family was really supportive but I was kind of the one who took it the furthest. I started playing guitar when I was like thirteen and just kind of kept up with it and kept going. They were always really cool with it. I’ve always tried to play in bands and stuff and now that we are doing this, they’re really supportive. They’re stoked for us, so it’s cool, you know.
CL: Has your family come to any of your shows?
BC: (Jason) Not yet. They’ve tried a couple times but usually we don’t play Miami. We’ve played there like three times and usually it’s at midnight or something and our folks are a little bit older and don’t like to come out too late. And usually the clubs are in a pretty gnarly part of town, so, you know.
CL: You started playing instruments at a young age. Are there any instruments you would yet like to learn?
BC: (Jason) I wouldn’t mind learning how to play piano properly.
(Rafa) I was playing jazz piano right before I started touring a lot. That’s something I would like to get back into a little bit more. I mean I played bass in bands for years and guitar too. I write a lot of stuff with Jason on guitar and I like playing a lot of acoustic guitar like finger style like Jango Reinhart kind of stuff. I don’t know why, but I’ve always been attracted to that sort of jazz, like gypsy jazz sort of style. I guess maybe from my background, Flamenco guitar playing, that’s how I started. I started with a nylon string just doing straight up classical. I mean I love playing electric too. Right now I’m into a lot of the fusion players like Al di Mieola, John Mc Laughlin, Alan Holdsworth, Robert Fripp one of the prog guys and stuff like that. I mean even for Black Cobra, that stuff is very inspiring, how proficient those people were and were able to be tasteful about their technique not just doing difficult stuff for difficulties sake, you know it definitely was musical and they were pioneers in that stuff. Being a two piece, you know, for us is another challenge for us to do things like that. But yeah, I don’t see myself picking up an accordion or violin or anything like that. I like the metal band instruments for now.
CL: So, other than other musicians or love for a certain instrument, what inspires you as musicians, as artists, to write your songs, to make your music? Is there anything social, ethereal, biological, anything that is inspirational to you outside of the music itself?
BC: (Jason) A lot of our inspiration, at least for me, is from literature, like fiction, sci-fi horror kind of stuff and then film as well. Film is a big inspiration for both of us. We’re really into Roger Corman, Vincent Price, Stanley Kubrik it all has a way of seeping into the way that we write our music and the ideas we come up with.
(Rafa) I think for me a lot of the emotion that certain art sort of sparks up in people, like if you see a movie or a painting it brings a certain feeling. Trying to recapture that feeling or emotion musically, having that response, that is a challenge. But also, I get really influenced when I read about how an artist, maybe like a painter, approached his style or approaches painting. What was going on at the time, or what influenced him. For this record, for example, this is kind of odd, but we were reading a lot about Nikola Tesla. You know, the guy is an inventor, a scientist, it’s got nothing to do with music or art. But he was thinking so far ahead, in ways that were so impossible, and people thought this guy was crazy but he changed the world. He lit up the world, literally. So that is something that is very inspiring for us, something that happened like a hundred years ago. We wrote a song about him, “Lightning in his Hand”, it’s about his life because he was like an unsung hero in a way. He died uncredited for the things he did, he didn’t get credit until way later, but I don’t want to get in to that. Things like that and film and how a director approached a movie, how he pieced it together and how he develops a story and the feelings he evokes. The timing, I mean that from a two dimensional perspective, I mean music has a time limit but it doesn’t have a space limit where as something like art has no time limit but it has a space limit and so even though it is something that is influencing you, you are transferring it like dimensionally and, um, we do that, a lot. Because of movies and things like that but also the music, like soundtracks and they are creating atmosphere and environment, we also use that. Like thinking of a certain scene like what does a battle look like, or what does driving real fast through a forest sound like, I don’t know. We just try to think maybe it would be like this or like that, inspiration is from everywhere.
CL: Could you talk more about the idea of time? Especially as it relates to your new record, “Chronomega”.
BC: (Rafa) Yeah, the word chrono, meaning time definitely. I mean originally when we started thinking of ideas for the album, we were thinking of like time travel and inter-dimensional travel. I mean we watch Twilight Zone a lot and stuff like that. But the interesting thing is a lot of scientists get ideas from science fiction. Star Trek did this or Star Wars did that and they actually do try to invent something. We were watching a lot of time traveling things and we were like, how real or how unreal is this. I mean has anybody even tried or whatever? Then we started reading about how, if it could have been done, you know traveling at light speed and things like that, so chrono. A lot of it was tying into consciousness and expanding consciousness through time travel, the things that we were reading were sort of getting tied into that. So, Chronomega, I mean mega is just big, making something really big, it was sort of like the expansion of time. Our perception of time, how it can influence how we live our lives. What our concept of time is, just a series of moments, it’s just sort of one big quantified eternal moment how a lot of people tend to see it or how a lot of the Existentialists sort of see it like that. Everything is sort of happening at once. There is no future, past or present. We are all living it together. The question is, if we can see into the past why can’t we see into the future if it’s all happening at once? That’s the question Stephen Hawkings poses and it’s very valid. Yes, if time is only one big line, how come we only see it one way? In the title, the record cover, it’s sort of like a Tesla coil but a more primitive one. How he was sort of expanding his mind into the future and almost looking ahead in time inventing all these things that back then seemed so impossible. So, yeah, “Chronomega” just expanding time, that’s how that came about, a play on words, we kind of started delving more into it and finding out about, reading about, your perception if you will.
(Jason) Yeah, so aside from time travel and science fiction kind of aspects of it, like Rafa was saying, of time and how that changes based on circumstances such as age or just circumstances itself would change your perception of time and what that means as a human being in your existence. How does that affect us and how do we move through that like living our lives? All those things just sort of amalgamated into the songs here and there and then the album title. It’s not a concept album but there is a definite theme of time throughout the whole thing.
CL: You guys have a lot of interests, many of which we share, but interests beyond being musicians. You think about of a lot of things, you are interested in a lot of things. What do you think you would be doing if you were not musicians? A second passion you might have? And when you’re not being musicians, what do you do?
BC: (Jason) Film is a really big passion for me. I almost went into it in school but I didn’t. That would be something that I would definitely be interested in doing some more. I mean I read a lot about film, I watch a lot of films so I guess I’m sort of an armchair film studies dude, film critic, whatever. Yeah, that’s something I’ve always been interested in and if I wasn’t playing music I would probably be interested in delving more into that. When I’m not playing music, I don’t know, I’m playing music a lot but yeah, reading, watching films, hanging out with friends and just kind of living my life the best way I can.
(Rafa) If I wouldn’t be doing music I’d be doing something with physics because I’m big into math. I won an award for physics in school and my teacher told me you should maybe look in to this. I mean Physics is kind of a combination of math and science. If I had the time, it would be nice to invest some of my life to trying to figure out the power problem and more efficient ways of creating energy, I guess. If I could get a hold of some plutonium or something maybe I could but I don’t think that’s legal. I’ve always liked the technology side. I do engineering and stuff so that to me is like a science almost as well as an art. I mean taking apart amps and dealing with effects boxes and soldering stuff, I’ve always been very gadget like that’s why I guess Tesla, you know when I started reading about him I was like, wow man this is totally up my alley. But yeah maybe something with science or yeah, maybe work for the space program if I could, if they would take somebody like me.
CL: Do you guys have to take other jobs when you aren’t touring?
BC: (Jason) I work temp jobs when I’m at home. Office work and I was working in a warehouse before we left for this tour. Just whatever I can find basically to get us by in between the tours and stuff like that. Mostly odd jobs and stuff like that, whatever I can find.
(Rafa) Yeah, I’ve done all kinds of odd jobs. I used to deliver ice cream, fruit and dietary supplements. I worked for a moving company for awhile in San Francisco. I used to work for Alternative Tentacles in the mailroom. We ran into Jello (Biafra) in Boulder. He was visiting his family and he came to our show when we played at the Fox Theater. Yeah, just odd stuff, I’ve done some engineering too. When I was in L.A., I had a studio down there so tape transfers, voice overs for movies whatever, any little thing you could get your hands on. Filling in, doing guitar tech, whatever. I did some road work, and I did some managing for a band once, Lost Goat. Yeah it’s transient stuff, sometimes people are understanding that you’re in a band and they’ll help you out. Other people are like, no, we need people more permanent. It is kind of a challenge but the payoff’s great. We’re getting to play music and travel the world, I mean you can’t compare it to anything, getting to do art allover the place and share your ideas and thoughts with people. I mean in Vaudeville they used to do it back then, like the gypsies just traveling around. But they had to do it because they didn’t have homes. Like Django, he grew up in a wagon traveling and traveling, you know. Even when he started to make a lot of money he never got a house, it was the only way he knew how to live. Now it’s more normal to be domesticated, just being stationary, but you learn to live like a nomad. The trade off is great and we’re doing a lot better now than we were in the beginning so we don’t have to get as many jobs right away when we go home so we have a little bit of time with the money we make on tour just to sort of relax and maybe work on some music and so the pressure is a little bit less. I mean it’s still there. We still have to try to survive and eat. Hopefully we won’t have to do too many more odd jobs in the future hopefully we can just play music, so buy our album.
CL: Speaking of which, how did you end up on the Southern Lord label?
BC: (Jason) Yeah, essentially, it was just a product of us playing so much. We’ve played L.A. so many times, we used to live there for the first year we started touring. I can’t even count how many times we’ve played L.A. Eddie Solace, who is the manager over at Southern Lord books a lot of shows in L.A. and booked Black Cobra a bunch of times and kind of asked us, just here and there, so what do you guys think about Southern Lord. We were always like, yeah, we like Southern Lord a lot and give us a call. Years went by since we first talked about it. It wasn’t anything that like happened right away or anything. But then one day they just ended up getting in touch with us and I think it was because of our playing so much and touring and our name was out there and eventually they took notice and approached us.
(Rafa) Yeah, like we didn’t know this but apparently Greg Anderson had been trying to see us for years and he kept missing us. We even did a festival in Holland, Roadburn, with Sunn O))) and after he was playing, you know ‘cause it’s different rooms. We played after Neurosis, in another room, and the room was so packed he couldn’t even get in to see us. All the way in Holland he couldn’t even, all the way out there, no, still nothing. Another time we played with the Hidden Hand in L.A. and so obviously Wino was there. He flew in that day at ten and we played at nine so he missed us again, he was just chasing us forever. But all his friends had seen us and were telling him, man check them out. I mean the guy probably gets hundreds of demos a month and we didn’t want to be another band sending him stuff. But they look for bands too. You know it’s like that secret crush you had on a girl in high school and you never bothered asking her out but then years later you find out that she had a crush on you. And you’re like, dammit. But we did ask and it took awhile. He said, hey I like you guys, what are you guys interested in, what are your plans for the next album and we started talking and we just took it from there. It’s been great. Southern Lord has opened a lot of new doors to a new audience definitely and has been able to get our music more throughout the world. I mean when we were in Australia the record was there in one of the stores already. Also, it’s a very particular niche that they have, it’s a very specific section of underground music. If you look at their roster, something like Earth, even Boris, it’s very eclectic, he has a wide range, there’s a theme about the label that we liked. Like the evolution of underground metal and music, like trying new things, new approaches, not just doing the sane old traditional formula that everybody’s been doing, but just taking a chance on creating new music, new art.
CL: Southern Lord sent your new album, Chronomega, to our station. It is great to have that to play on college radio.
You mentioned playing music allover the world. Would you talk about your observations of the culture of live music outside our own?
BC: (Jason) Europe in general seems a lot more open to heavy music especially the type that we’re playing. I don’t know if they just appreciate it because it’s from another country, or if they’re just more open to it but we’ve always had really good crowds in Europe. They have festivals like Roadburn and Hellfest we also played a festival in Belgium and it was so eclectic there was a Reggae band and a techno band that played right before us. The musical taste there is very open minded and people are more willing to accept different kinds of music. Japan was great. The audiences are very responsive to heavy music. The underground culture is really, really into kind of hardcore, punk and metal and that kind of stuff. Australia was really responsive too. There’s a scene for this kind of music, Doom, underground, heavy metal music, people are responsive to it. And there’s definitely a crowd in America for it too but for us, we feel America has been the toughest one to crack you know, for us. It’s been good but definitely foreign countries have been a little more responsive to us.
CL: If you were a d.j., on the radio, and you could play anything you like, where in your set list, juxtaposed with what other music, songs, bands would you, as Black Cobra, play Black Cobra?
BC: (Jason) Interesting. I would probably play some Karp, some King Crimson and Rush and then maybe some Black Flag and finish it up with some Black Sabbath maybe.
(Rafa) I’d play some Cosmic Psychos, maybe some Pink Floyd, I like “Obscured by Clouds”, well, I mean Syd (Barrett), anything by him pretty much. I like Eloy a lot, a German prog band, they’re pretty cool. I’d put some Melvins in there, some Harvey Milk would be pretty cool, some Cavity.
CL: I know you guys think a lot about a lot of different stuff. Although this album just came out last year, any thoughts for the next album?
BC: (Jason) I mean we’ve just been thinking. Like you said we think a lot we’ve been thinking, we’re thinking about the next record already. There’s a lot of thought being put into it, but still just in the thought process, at least on my end.
(Rafa) Schedule wise, I mean you do have to think what you have as far as timing. After we’re done with this tour we only have a month off before we go to Europe for a month to do the festivals out there. We’re doing a tour into June and July with Saviors and Weedeater, we’re doing Hellfest out there in France with Kiss, Slayer, Exodus and Motorhead , it’s this huge, gigantic thing, Alice Cooper, Godflesh, Carcass, it’s a monster. Five days after we get back we do a month long tour with Keelhaul supporting us. Then after that we will probably go headline Europe again. So realistically, we’re not going to have any time until the end of the year. “Chronomega” was the first time where we said, okay we’re not going to tour, we’re just going to work at home for five months. Whereas before, we were writing a lot of stuff in between tours for “Feather and Stone” well and some stuff on “Chronomega”. But we really wanted to focus on it, we got offered tours and opportunities but we wanted to really focus. We’ll probably have sort of a hibernation period where we’ll go into the next record and really just immerse ourselves in the creative process and kind of become monks for a little bit. But yeah, we don’t really write on the road. We just focus on doing a good job and putting on a good show, and not having the show suffer because we’re fighting or something like that. Whatever we’re doing we take head on and do the best job we can. But ideas are always coming, we’re always writing stuff down. We’re always like, hey man, check this out, did you see this or this lyric or this idea for a song , that never stops, I mean, that’s always coming at you. When you’re thinking creatively, I mean your mind is always shooting things at you. It’s our job as artists to write them down and to make sure that we execute them properly. We’ll see, I mean we’re not, it’s not like Sunn O))) that takes five years to make a record. We’re a little more of a working band, nothing against that at all ‘cause Sunn O))) is great, you know, the work that they do. I think that’s also a very interesting approach. A rhythm so that every once in a while this thing comes and leaves its mark and then it takes a couple of years for people to digest it and then by the time people have already absorbed it then here it comes again. You have to be careful not to oversaturate things and throw too much music at people at once you know like The Beatles who were doing two albums a year at one point. Even Black Sabbath, was almost, in the beginning, forced to do things like that. We’re not in to that. A lot of bands just try to put out as much music as they can just to have a big repertoire. I don’t know why, I don’t want to know why, ‘cause I don’t like working like that. Yeah we’ll take our time with this one.
(Jason) Yeah. We like to do a good job at what we do especially the music and the live show. We’re always like, what can we do better? Or how can we improve or what can we challenge ourselves with? We don’t like to slack off we don’t like to just put stuff out to put it out we want to make sure that everything is, like you said, up to our standards.
(Rafa) When we started talking about playing in the band I think the distance in a way helped us talk a little, no, a lot, about what we wanted in a band. So, a lot of it is, people say this but I don’t think they mean it, I think we did when we said we wanted to create music we wanted to hear. You know I like this band and I like this about this band and wouldn’t it be really cool to put something together like this. Will it work? I don’t know, trial and error. I mean, we had tons of ideas that didn’t work but hammering those out, we came into the ones that we liked. Having an ear for what you are listening for in other bands and putting that into Black Cobra took us awhile, just talking. In the beginning it’s like are we gonna play just slow? Fast? Or what? What are we gonna write about? A lot of bands get together and they get so excited that they just immediately start putting something together. I think for us, it’s not that we weren’t excited. We just wanted to take the time to present ourselves as a band, as artists. The artwork, to us, is very important I’m a very visual person. My whole life, I always, even with music, I see colors and I see patterns and shapes and things like that. So to me it’s taking our time, just to see those colors and shapes and things like animals. Obviously with a name like Black Cobra, we’re really into wildlife and things like that. The first thing people thought is that they’re gonna have a black cobra like on their record cover, you know. That’s off limits, that and skeletons and skulls and stuff, no, nothing like that. When you are raising the bar on yourself or anybody that’s trying to make any progress in the world, not just with yourself, you know you’ve got to push the envelope that much more. Sometimes bands are just lazy, they sound too much like someone else. We never tried to be like any one in particular. I mean we have our influences and those are important, the things that inspire you to pick up an instrument in the beginning. But to create a really authentic, original sound, it takes time. It definitely for us took a lot of research, experience, trial and error. I mean being a two piece we didn’t know how we were going to pull this off live if we were ever going to play live, no, we didn’t, we were like is this just going to be a studio thing or what? It’s been a slow growth but I’m glad that it’s going in the pattern that it did ‘cause we’ve been able to learn a lot about how to approach this and contribute. I think if you have something to contribute, something new to add to the table, then you feel good about it. You don’t feel that you are riding on any one else’s coat tails or anything like that. We’ve been doing this, how we’ve been doing it, we want to keep it that way. We don’t want to try to emulate someone else too much you know just being phony and riding just this wave of trying to be real gloomy and doom or whatever. All of a sudden a lot of people think this is in so maybe we should do this. I’ve always just been against what’s going on. Create your own thing, why do you want to be like someone else? You know what I mean? Express your own ideas, be genuine about it.
CL: Anything else you guys would like to add? We can’t thank you enough for being such willing participants in our interview. Also thanks for being so thoughtful and intelligent and for bringing such a level of seriousness to your music.
BC: (Jason) Thank you. Yeah, and buy our record.
(Rafa) Thanks for playing our music and to all the listeners who came to the show. We hope you keep supporting us and you like what we do.
Thank you Rafa and Jason for all the music and being so cool to us. Ted and Andria. Confinement Loaf.