The The Gauntlet: So, where did you guys play yesterday?
Joe Haley: We were playing in Cleveland…
The The Gauntlet: Peabody’s?
Joe Haley: Yeah.
The Gauntlet: I’ve never been there, but that’s the place where everyone plays before they come here. So, it’s a five hour drive, something like that?
Joe: A little less actually, maybe about four hours. We’ve got some problems with our trailer—it doesn’t have any lights on it, so we can only drive during daylight. So we couldn’t start driving until dawn.
The Gauntlet: So, wait, did it have lights before you started or did it never have lights?
Joe: It never had lights. It’s got lights on it, but they’re just not working.
(Laughter)
The Gauntlet: That’s kind of strange. I always just had in my mind the image of all the bands going in a group caravan, rolling out together.
Joe: Every band’s got their own trailer, I think. So long as everyone gets to the show on time, I guess it doesn’t really matter.
The Gauntlet: Otherwise, how’s the tour been going so far?
Cameron Grant: Ah, pretty good. Pretty short. This is the third day, I think, of the tour. But apart from that, yeah, it seems to be going along well at the moment.
Joe: We just jumped off a European tour and had 10 days at home, maybe. Would have liked to have had a few more days off. We did about a month over there and then linked up with this one.
The Gauntlet: And then you guys are coming back next month with Suffocation and Decrepit Birth. So how did that come together? I didn’t even know that was happening until I started setting up for the interview.
Joe: We just figured that, because the Carcass tour is pretty short—
Cameron Grant: It’s a long way to go for two weeks of touring. Because it costs so much to get over here, you’ve got to make the most of the time here and get the most amount of shows you can get in a row. The Suffocation tour happened to be going on at the same time, so we jumped straight onto that one. That makes it a long tour, but it’s worth it.
The Gauntlet: That actually works out really well, because I showed up after the show started. I thought it started later, so I didn’t even get to see you guys play. Maybe next time I’ll be able to get here on time.
Cameron: We’ve had a few people say that, actually. We’ve been over here recently, pretty much opening, and a few guys get here late and say, ‘Oh, fuck, man, we thought you’d be playing later.’ (Shrugs) I guess you got to get here early.
Joe: It’s an early gig all around. I think Carcass are on at 9:20.
The Gauntlet: Yeah, 9:20. All the sites said 8:00 pm, and the Pearl Room one as well, so I was assuming doors at 7:00, show at 8:00. I get another chance, so hopefully I’ll get a reprieve next time. Another thing I’ve noticed is that the tour is going by different names when you get to different places…
Joe: Yeah, there are a couple of festivals. The actual tour is just about four bands with maybe a local opener. That’s what the majority of the shows have been, but then there are the other nights where they have some other people joined onto the bill.
Cameron: Last night we had Abigail Williams on the bill; tonight we’ve got Black Dahlia, and Black Dahlia again tomorrow night as well. So all the bigger shows they’ve been calling…whatever.
The Gauntlet: (Laughs) So long as you guys get to play, I suppose. How’s the response been? I know you’ve been here before, but this second time around have you noticed a difference so far?
Joe: Yeah, it’s only been three shows, but I think it’s been going pretty well.
Cameron: Yeah, you can definitely notice it. We seem to have more fans.
Joe: The first time around it was more of, ‘Oh, I’ve never seen these guys before,’ and afterwards some would come up and say, ‘Man, that was wicked!’ But this time there are people saying, ‘I can’t wait to see you.’ So they’ve obviously come along to try and catch us and have a good time.
The Gauntlet: I just noticed downstairs, it seems that you guys are capitalizing on the merchandise, too. It looks like you’ve got some artwork from the same guy who did the Arsis stuff?
Joe: Yeah, yeah. He’s done a bit of artwork for us. It’s really cool artwork…but it’s also pretty cheap.
(Laughter)
Joe: But, yeah, we really like it. And he’s really quick at coming up with artwork. So if we want a design done on short notice, he gets it done within the week. So that’s pretty good.
The Gauntlet: And, you’re coming back this time again in support of ‘(Ob)Servant’. That’s your first release for Nuclear Blast, so what’s the support been like from them, and how’s that different from what it was like with Neurotic or when you were doing things on your own?
Joe: Heaps. Heaps better.
(Laughter)
Joe: Heaps more professional. We’ve never been in this sort of position before, where it’s actually like a legitimate record label. It’s actually kind of weird. But they help out heaps. Gerardo—the guy who sort of runs Nuclear Blast here—he seems like a big fan and helps us out as much as he can.
Cameron: No doubt, it’s been awesome. Definitely a step up from our previous labels. It also makes the album a lot more available everywhere. I think that’s also helped with people hearing about it; because it is on Nuclear Blast, you can get it pretty much everywhere.
The Gauntlet: And, looking towards the future, knowing that you’re on this big stage, does that inspire you to work up to a higher level on your next album? You’ve got the international distribution, the engine of Nuclear Blast behind you…. Does that put pressure on you for writing?
Joe: Well, we figure they signed us on what we were doing, so we’ll just keep doing what we’re doing. They seem to like that, so we’ll just keep at it, I guess. I don’t think we’ll try to change to fit a scene.
Cameron: Yeah. Just keep doing our own thing. Hopefully they’ll get into it. (Shrugs)
(Laughter)
Joe: If you try to follow whatever the trend is at the time…well, I suppose that’s the definition of a trend. Something that’s trendy is going to be over soon. If we try to follow that kind of thing, people aren’t going to be into it before long. So we’ll try to just grow our fanbase from what we’re doing, and hopefully it works out.
The Gauntlet: I think that’s the healthiest perspective to take, and probably one your fans are probably glad to hear.
Joe: (Laughs) Yeah.
The Gauntlet: On that note, your writing style has progressed pretty dramatically over the past eight years. It still remains in the general field of technical death metal, but if anything has become more technical, I think. So what motivates you as a musician to progress?
Joe: (Long pause, looks to Cameron)
Cameron: I suppose, other bands that you tour with. They inspire you to focus, practice, put on a good show. I think that’s the biggest influence we’ve had over the years—touring with bigger bands, seeing how the professionals do it. You get more into thinking, ‘Ok, what can we do to better ourselves?’ Not necessarily taking any of their style—we want to keep doing what we’re doing—but how they approach what they’re doing. I think that’s the main influence we get from other bands.
The Gauntlet: So, raising the bar in your own way.
Joe: Yeah, yeah. Just finding ways to make be a bit more professional.
The Gauntlet: Do you guys feel like professionals now?
Joe: I don’t know…. You can always be more professional.
(Laughter)
Joe: Sometimes. Sometimes, when everything works out. Other times…
Cameron: Yeah, when your gear starts to shit itself—
Joe: We have a lot of technical issues every now and again.
The Gauntlet: Were you guys able to bring a lot of your own stuff over?
Cameron: I’m not even using a bass amp. I’m just going direct into the PA. I’ve got this little SansAmp DI box—it’s got an awesome sound, but tonight it just shat itself, or whatever. So my bass was just going directly in. It sounded like shit but played alright.
(Laughter)
The Gauntlet: And what was it that you say it was that you were using?
Cameron: A little SansAmp DI box. Effectively, you can just use that, still get a good sound, and go straight into the PA. It means you don’t have to lug around a massive bass amp, because we just can’t afford to fly that around. So that seems to be the easiest, simplest way to do it.
Joe: All I’ve got is a preamp—
The Gauntlet: I think I read…was it a Mesa TriAxis?
Joe: Yeah. I’ve basically just got that at the moment running into…. Well, Randall ended up helping me out a lot. I think I pretty much endorsed by them a couple days before the tour, so they flew me over two heads and two cabs before the tour.
The Gauntlet: Really? Well, congratulations.
Joe: Cheers. I didn’t really know what I was getting. They just arrived and I was like, ‘Shit. Well, I hope it works alright.’
(Laughs)
Joe: But it sounds great. I’m pretty stoked. There was a bit of drama; there was another band on the tour, but they dropped out.
The Gauntlet: Arsis.
Joe: Yeah. We were going to use their backline. And they dropped out only a couple of days before the tour, so we had only a few days to organize everything.
The Gauntlet: Right. Because James [Malone] is endorsed by Washburn, and Washburn and Randall are owned by the same company.
Joe: Yeah.
The Gauntlet: Ahh, I begin to see.
(Laughter)
The Gauntlet: So what guitar do you play, then?
Joe: I’ve actually got an ESP endorsement back home, so I play one of those. It works out well. It’s got Seymour Duncan pickups in it. It’s been batted around—I’ve only had it for a year or a year and a half.
Cameron: Itt gets trashed up.
Joe: Yeah. It was flown up here for the touring, because it’s on the new album. It’s almost had it—I probably need to get another one. Shit rusting all over it—
(Laughter)
The Gauntlet: That hurts me. I work at a music shop, so I’m constantly polishing and cleaning guitars all the time. To hear about a guitar getting damaged…
Cameron: That’s the thing. Sometimes, you finish playing and have got to get everything off stage. Maybe you have time to wipe it down quickly, but not always. Anytime you finish a gig you like to have enough time to clean it up properly, but most of the time you don’t. When we first got them, we were pretty good about trying to keep them clean, but not these days. A few gigs into the tour and it’s all over.
Joe & Cameron: Fuck it.
The Gauntlet: So, do you have any chance to change your strings while you’re on tour?
Cameron: Ah, I only change them when I can afford it.
(Laughter)
Cameron: I think I’ve only got six sets of strings for the whole tour, the whole six weeks of our run over here. Maybe I’ll get enough time to change a few of them. If I had them at my disposal I’d try to do it more often. I had an Ernie Ball endorsement as well, I think, but I don’t know what happened with that. I think it all fell through.
The Gauntlet: For bass, then, what are you playing?
Cameron: Music Man. Sterling. And then that little SansAmp pedal and that’s about it for the tour. A little wireless as well.
Joe: I’ve got a wireless thing, too. But I don’t move around very much, so…
The Gauntlet: A bit of a learning curve, yeah. A friend of mine is a bassist and is the only guy in the band with the a wireless. So he’ll jump off the stage, run off to the other side of the room, and headbang at the people who weren’t even listening to the music, then run back and jump on the stage. Might be an interesting experiment and see how that goes over.
Joe: (Laughs) Oh, that’s cool.
The Gauntlet: But, back to ‘(Ob)Servant’. It’s landing on some Australian independent charts as well…(Pause) The new album landing on some charts, yes?
Joe: (Looks to Cameron)
Cameron: Oh, was it that AIR Chart or whatever it was? ‘Australian Independent Releases’, I think?
Joe: Oh, yeah. Ok.
The Gauntlet: Or did you not even know?
Joe: I heard about it but don’t know too much about it.
The Gauntlet: Well, congratulations, regardless.
(Laughter)
The Gauntlet: I don’t really know what the scale of the chart is, but to be recognized as reaching that plateau puts you amongst the professionals, at least in some respect.
Joe: I think we do alright in Australia, amongst the metal scene. It’s getting out there and going everywhere else that we’re working at. It’s going alright, I think.
The Gauntlet: Did you guys do much traveling before you started touring with the band?
Joe: The only time I’ve been to a different country is for touring. Not even inside of Australia, because we’re separated, you know. We’re on an island. Even then I hadn’t done any kind of traveling, even to the mainland of Australia, before the band started traveling around a lot. It’s opened up our tourism, I guess, to get around and see the sights.
The Gauntlet: Do you like traveling, now that you’ve done it more? Or is it not something you would do otherwise?
Joe: Oh, yeah. I love it now. It’s one of those things, once you do it you want to just keep going. I love it.
Cameron: I had done a little bit, but not really outside of the country. Definitely not as much as it’s been in the band. But we’ve seen the world now…it’s pretty cool.
(Laughter)
The Gauntlet: It’s a big place. Especially coming from an island as small as that, way down there. I’d like to go someday, but have only seen pictures of it.
Cameron: Yeah, we love it.
Joe: It’s nice. That’s why we’re still there, you know.
(Mark Heylmun—guitarist of Suicide Silence—approaches slyly)
Mark Heylmun: Hey, are you guys doing an interview?
(Laughter)
The Gauntlet: Yes, indeed.
Mark Heylmun: Man, I don’t know what the fuck that meant. (Wanders off)
The Gauntlet: Well, so where was I. We keep tangeting away from the new album, but I’ve got a series of things I’m curious about. As you’ve progressed from the old days, what would you say the most important thing you’ve learned is—musically—since ‘The Isle of Disenchantment’?
Cameron: I’m sorry, I’m still totally distracted.
Joe: (Repeats question to him) We’re still a technical band and play a lot of technical riffing and drumming, but we’ve learned that that’s not all there is. Earlier on, especially on ‘Isle…’, ‘Scepter of the Ancients’, and even on ‘Symbols of Failure’, it was all about technicality. We were trying to fit a thousand riffs and as much stuff in there as we could to make it as full as possible. Which is all cool, you know. But especially with the new album we’ve been thinking about it a lot more from the listener’s point of view. If I listen back to a lot of the old stuff, a riff might come up and be grooving, but it’ll only last something like two seconds. So you’re starting to get into it and then it’s like, ‘Aww.’ (Tosses up hands)
The Gauntlet: (Laughs)
Joe: On the new album we’ve started thinking about that a lot more. If we come up with a really grooving riff we try to sit on it a bit more and let it build in its own right. The technicality is still there, but we’re using more repetition.
The Gauntlet: That’s what I was guessing you were going to say, actually. I reviewed ‘Symbols of Failure’ and ‘(Ob)Servant’, and had bought ‘Scepter of the Ancients’ before that. And I’d liked the earlier two albums—‘Yeah, this is cool, these guys are completely off the wall,’—but when I heard ‘(Ob)Servant’ it clicked more for that exact reason. When you hit a groove or a riff that really worked, you let it breathe and let the song grow and build around it. I thought that was fantastic.
Cameron: Yeah, yeah.
Joe: That’s basically what we were looking for: letting it breathe a bit more. And also trimming off all the fat, I suppose, all the things that didn’t need to be there. That’s the angle we were going for, I think.
The Gauntlet: So, when you go back and listen to those old songs and hear that groove that lasts just a second, do you kind of want to bring it back? Do a reprisal of it and ‘let it breathe’ for a while?
Joe: (Laughs) That’s kind of how it came about, because I suppose we’re also looking at it from the live perspective. We’d notice, when we were playing songs live, how we’d get to one of those grooving riffs and people would start getting into it. But it would only last a couple of seconds and then we’d change, and people would go—(Headbanging jerkily) “Oh…”
The Gauntlet: (Laughs)
Joe: So with the newer stuff, we were thinking from the live perspective. If there was a really grooving riff that sounds like something people were going to want to get into, we’d sit on it for a bit more.
The Gauntlet: That makes sense, too. What happens when some bands sit in the studio and don’t play out a lot, they’ll get caught up in the technicality and multi-tracking and things like that instead of just rocking out. That’s good to hear. So, also shifting from the old material to new material, that coincides with the departure of Matthew Chalk. Lyrically, there’s been an interesting shift from the fantastical stuff—with those classical allusions in the cover artwork, grand scepters on the cover artwork and things like that—to more psychological stuff. More cerebral, really. I don’t know what your songwriting process is, so did that transition change your approach, or are the lyrics fit to prewritten musical tracks?
Joe: When we’re writing, we write the actual music itself. The songs are written, the music is there, and we haven’t taken singing or lyrics into account at all. I think even with the new album, we had basically all the songs written and we didn’t have virtually any singing, lyrics, or anything until shortly before we recorded the vocals. As for the actual lyrics, Dave, the drummer, takes care of it. And he just writes whatever…I don’t know…whatever he likes.
(Laughter)
Joe: If he’s got some crazy idea and he’s writing something interesting, he’s not thinking in terms of particular songs—for phrasing or whatever. He’ll just write a story or an idea and then give it to Peppiatt, our vocalist, and he’ll put it to whatever song he wants. And he’ll figure out the phrasing and maybe make a few changes. It’s worked out, you know: starts with the music, then the lyrics, then the phrasing and everything else. It’s kind of different, because I think a lot of bands figure out the phrasing and the words at the same time as they’re writing songs. But we don’t really do it that way. I guess that’s how we’ve always done it.
The Gauntlet: If I’d had to guess, I would never have guessed that process. Interesting. The vocals have always been, how shall I say…unique. We’ve obviously talked about how the vocals are laid onto the songs afterwards, but what’s your perspective on how they fit, or how they should fit, into Psycroptic?
Joe: That’s something that’s kind of changed as well, especially with the new album, again. In the past, it was the same with the technicality thing—full on, everything coming at you at once. We basically had singing from start to finish. It came in at the start and sang as much as possible right through to the end. But with the new album, it was much the same way as with the riffing. We wanted things to breathe a bit. If there’s a cool riff that would work better without vocals, then we’ll do it that way. In the past, for basically every riff that came about, the would be vocals on it. These days, if it’s something we want the crowd to get into, we’ll leave it there and let people thrash out a bit more. It’s different, but I think it works better. A bit more like a verse/chorus kind of approach.
The Gauntlet: On a similar note, if there is anything I would have liked to have heard more of on the new record, it would be more prominent and independent bass tracks. I was wanting a bit more of a full low end that could have been provided by some contrapuntal bass movement. I feel like that would have skyrocketed it into a totally different realm of technicality and…awesomeness.
Joe: (Laughs)
The Gauntlet: Do you think about…
Joe: Those are some big words.
(Laughter)
The Gauntlet: Do you think about doing that? Or when you’re writing, do you just focus on guitar and flesh out the rest of the stuff later on?
Joe: Yeah, that’s generally how it works. In the past, my brother, Dave, and me, had been living together right before we recorded the new album. So the whole time the band’s been together, me and him had been able to just jam out as much as we wanted to. But Dave’s actually living in Melbourne now, there’s some separation and we don’t get to rehearse as much as we did before. Which is kind of the reason why I ended up writing more of the album—it just made it easier than everyone doing their own thing. So, yeah, I’d write the guitar lines by myself and write the songs, and then send it to him to come up with the drum parts to what I’d written. Basically, that’s how the songs start—guitar and drums—and then everything comes around after that. The bass lines and vocals get laid on top of it that way…if that makes any sense. (Laughs)
The Gauntlet: Yeah, absolutely. Another thing I liked about the record was how well you were able to handle the longer songs. On the previous album, you didn’t have many long tracks, and on ‘(Ob)Servant’ I think you’ve got four that are six minutes or above, something like that.
Joe: Yeah. I think that was another thing that had to do with Dave not living with me at the time. In the past, he’s always been like, ‘Oh, we’d better finish it there before it gets too long.’ But, because he wasn’t there while I was writing, the songs ended up being a little bit longer. (Laughs) I think that’s the main reason. A lot of the length of songs are taken up with intros and things—we wanted to get into that a bit more. That came about from what we were talking about before, thinking about the live perspective. We thought it’d be a cool thing to have these samples that built into songs, instead of just saying, ‘Ok, this song is such and such’ (Mimics cymbal count off and first couple seconds of a blast). It’d be cool to have these things build up and people who might know the songs, as soon as they hear the sample, would know what was coming up. That’s extended some of the songs a bit.
The Gauntlet: I do like how some will bleed straight into another with those subdued interludes. Lulls you into a bit of a trance before tearing off your face again.
Joe: (Laughs)
The Gauntlet: I’m specifically interested in ‘Initiate’, and how you decided, ‘Man, I want to write an eight-minute death metal song.’ Or if it just sort of grew and grew.
Joe: Well, the actual song is five…
Cameron: Or six.
Joe: Yeah, it only goes for five or six minutes. The first idea we had…there’s a gap towards the end before it goes to that main outro riff. That was where the song finished. But we also came up with this other idea that we really wanted there because it’s pretty cool and groovy, and it fit perfectly there. It’s a nice outro for the song and album. So that’s how that song ended up that long. And also that one has the whole intro as well. The actual song that we play live doesn’t end up being that long, but with everything else around it, it’s pretty long, I guess (Laughs).
The Gauntlet: And you also did a video for that one. I’m not big on music videos, so I don’t know, but had you done music videos before, or was this your first experience with that sort of project?
Joe: We did one before and it was…a bit of a shamble.
(Laughter)
Joe: It was with these guys who didn’t seem to know what they were doing. (Pause) Yeah.
Cameron: We had some professionals working on it this time.
Joe: Yeah, this time we had someone who really knew what they were doing. For the price it’s an unbelievable clip, really. It cost us about $1300 Australian, and that’s including the guys’ airfares to get down to Tasmania to do it. They basically did it for nothing, and it came out really good. We did it in a local…
Cameron: Mental asylum.
Joe: (Laughs) Yeah. A mental asylum that had been shut down for a few years. It was pretty creepy. But that’s basically the only main film clip that we’ve done. We did one for the last album that wasn’t too bad, but that was a last minute thing.
Cameron: That was the live one with Maurice?
Joe: Yeah, with Maurice from Legion of the Damned. He does a lot of video sort of stuff and he filmed one of our gigs when we were touring with…I think it was Cannibal Corpse.
Cameron: That was the No Mercy tour.
Joe: He filmed one of our shows in Paris, I think it was. And he just cut this thing together and it ended up being a pretty cool film. A lot better than the one we were trying to do for the last album. So, really, we’ve only done two pretty decent films. But the new one—we’d never really done one on that professional kind of level.
The Gauntlet: I’m just trying to visualize you guys lugging your gear to this abandoned mental place—
(Laughter)
The Gauntlet: --And then setting up and playing along and recording it.
Cameron: We got that cheap, too. A friend knows a guy who leases it out. He’s a weird antiques dealer and he’s redoing it, doing it all up—
Joe: Trying to make a hotel out of it.
Cameron: Yeah, he wants to make a hotel. So, for the couple days we went out there it basically cost us a bottle of Wild Turkey and a bit of weed—
The Gauntlet: (Laughs)
Cameron: So, it was a pretty good deal.
The Gauntlet: Wow. I’ll never be able to watch it without thinking of that again. Then, again to the songwriting. It doesn’t really seem like the sort of music that you can just plop down with your acoustic and bang out. So, do you practice ideas or write them down as they come to you? We talked about how you do the songwriting mostly yourself, but what is that process like?
Joe: I guess I just sit down, play around with ideas. A lot of people write it out or record ideas, but I just keep playing. My philosophy is that if you can’t remember a riff it’s really not good enough. So if I come up with a good idea I’m going to remember it the next time I sit down to jam. When we put songs together, I might even have a riff or series of an idea that might be sitting there for months because I can’t tie it into anything else. So I’ll just put that aside and worry about it later. It might be months down the track before I come up with the next section, and then I’ll end up writing the rest of the song in five minutes once I get the that one part written. It’s different with some songs, like ‘(Ob)Servant’—me and Dave wrote that in a day and a half or something. Some songs just come to you and some take forever. ‘Initiate’, the main section to that, was just sitting around for ages. That was one of those songs that you’ll have a few bits to, and it took months until we found the right riffs and ideas to tie it all together.
The Gauntlet: Do you have particular keys or modes that you like to practice or write in?
Joe: Not really. I try not to think too much in scales or theory when I’m actually writing. Obviously, since I’ve practiced that stuff so much I can’t help but play what I know. But I try to forget about it and just use my ears a bit more. A lot of our stuff is playing outside of keys. I think the main scales we use are minor, Phrygian dominant, maybe a bit of melodic minor here or there for passing notes and stuff. But like I said, when I write songs I try not to think about that too much.
The Gauntlet: I suppose, then, if Dave handles a lot of the lyrics…it happens now and again where I’ll ask someone about lyrics and they’ll say, ‘Meh, I don’t care. Someone else takes care of that’ But, reading the lyrics and seeing the whole package, I wonder whether you guys have shared inspirations for music and lyrics? It seems like movies like ‘Dark City’ or books like ‘1984’ would be things you really like. Is that accurate in any way?
Joe: Yeah, yeah. Me and Dave are right into that Sci-Fi scene. I actually can’t remember what a lot of our lyrics are about—
(Laughs)
Joe: I just know that he’s into a lot of the same things that I’m into. All the science fiction movies and books and that kind of thing. I know he’s right into that, and it influences his writing. The crazy kinds of ideas those movies have—that’s where he gets inspiration from.
The Gauntlet: If there were to be a Sci-Fi film to which Psycroptic would be a soundtrack, could you choose one?
Joe: Oh…I don’t know. (Thinking)
The Gauntlet: We could give you four, because you have four albums.
Joe: Hah. Ok. (Pause) I don’t know. ‘Dark City’ is a pretty good one, actually. Me and Dave really love our series, too, like ‘Battlestar Galactica’ and ‘Star Trek’ and all that kind of stuff. But I couldn’t imagine Psycroptic being a soundtrack to ‘Star Trek’ or anything—
(Laughter)
Joe: But that’s what me and Dave really get into. I know Dave loves that sort of shit. I don’t know, I’ll have to think about this. It’d have to be a very dark, kind of sinister, Sci-Fi movie. I can’t think of one off the top of my head.
The Gauntlet: Maybe I’ll ask you guys when I come back to see you next month.
Joe: Yeah, we’ll talk about it (Laughs).
The Gauntlet: What about you? Do you have a lot of shared inspiration with the Sci-Fi stuff?
Cameron: (Smiles and shakes head) No.
(Laughter)
Joe: No, he’s not into it.
Cameron: I like dumb comedy shit. I think I like Star Wars, and that’s about as Sci-Fi as it gets.
Joe: I’m not a big ‘Star Wars’ fan.
The Gauntlet: Seems like if you like ‘Star Wars’ you don’t like ‘Star Trek’ and vice versa. You can’t cross-pollinate.
Joe: (Laughs) Yeah, that rivalry there. Will never get over that.
The Gauntlet: Well, I think that about wraps up what I’ve got. You guys have been very accommodating and I appreciate it. Is there anything else that you’d like to put out there for fans who might be reading?
Joe: I don’t know…you?
Cameron: Just come out to our shows, check it out.
Joe: Yeah, come to the shows…buy our merch and CDs.
(Laughter)
Joe: Because we’re poor.
The Gauntlet: I’m sure that appeal to their consciences will work. Thank you guys very much.
Joe: No worries.