RHINO SHRINE "MY GOODNESS" REVIEW AND INTERVIEW
As Rhino Shrine tell it, when it comes to whipping up "tasty jams," there can never be too many cooks in the kitchen. Even when adding a new set of hands to the ensemble, as they did recruiting drummer Sam "Johnny Tsunami" Arphu, the fresh tones all blend together in a complimentary way, never clashing. “We adjusted well,” singer/guitarist Gavin Jarl proclaims, “acclimated, quite nicely… Sam is a man of many flavors.”
And many flavors there are! "Bobby's Big Day Off," a trawling little instrumental ditty accented by occasionally popping bubbles, is a standout on the project. Its lax, bluesy dribble is a new sound for the generally heavier band, and Ben Ranney, bassist, describes it as their version of a “palate cleanser.” Other tracks like the slippery, surf-y “Little Canada” are surely more indebted to the legacy of Minneapolis rock icons that still haunt the studio where they recorded in Dinkytown, now known as Blue Bell Knoll. Others still inevitably pull, at least in part, from the basement show scene the band makes their playground/proving ground, as well as the bands they share those bills with.
With their tasty first studio EP, My Goodness, out now, the Shrine makes it clear that, although music, itself, is a serious endeavor, they never come close to taking themselves too seriously. If you’re interested to see the crew’s goofiness firsthand, continue reading or watch our full interview with them at Melodic Noise’s Patreon page. You’ll find out how Gavin comes up with his utterly surreal lyrics, why Bud (Hjelmberg – Guitar) thought the band “should probably just shut the fuck up,” and what the band is doing now that they’ve already “moved on… creatively” from My Goodness. Rhino Shrine thinks you’re cute, they think you just might like My Goodness, and they need you to know “that some may you do, but that you may one day see all the things that want.”
Rhino Shrine:
Bud Hjelmberg – guitars
Gavin Jarl – vocals, guitars
Sam Arphu – drums
Ben Ranney – bass
Adam Trelstad – keys, trumpet
(Melodic Noise) Long time fan of The Shrine, as well as The Crak Pots, so I'm very excited for this. Yeah, so if we could first, just go across the screens and introduce everybody. Say your name and what you do in the band...
(BH) You start (pointing to GJ), and we can go this way.
(GJ) I'm Gavin, I play the gui-tar and sing in Rhino Shrine.
(BH) My name is Bud, and I play guitarrr...
(SA) My name is Sam Arphu “Johnny Tsunami,” and I play drums.
(BH) Play the cans.
(BR): I play a bass
(BH) And his name’s Ben.
(AT): And Adam and I play keys and trumpet
(MN) Awesome, thanks guys. So if you don't mind, I'm just gonna kind of roll right into this… Big news! You guys got an EP coming out this Friday, My Goodness –
(GJ) God Damn!
(BH) It is true
(MN) Let's talk a little bit about that. I've heard the pre-release stream of it, big fan. I think it's a little bit of a progression from the last album. Listening to your earlier work, there's very much clear influences of what I would call my dad's record collection. I think that's very clear, but that often manifests in a very psychedelic and almost hard rock way. On the new EP. I'm getting sorts of almost blue tones and maybe a bit jammier feeling too. How do you guys feel about the new album sonically compared to your previous work?
(GJ) Some of the songs were written a little while ago, like “Little Canada”
(BH) I would say probably the change in drummers, yeah? I think that kind of shifted it a little bit. Just cuz we had different members, ya know?
(BR) Different styles.
(BH) Yeah, exactly.
(AT) I think we got together with Sam, and early on, just to get the feel of playing with him, we did a lot of jamming, and I think we were all a little surprised as to how well that worked, that we could jam so well together, so we just ended up doing a lot of that, and it worked its way into our songs and we could do the longer jams, keep it in fun and... I don't know, it just seemed to really work well to do that kind of stuff.
(GJ) We adjusted well, acclimated, quite nicely.
(MN) Sam, then, I’d love to hear a little bit about your thoughts on entering a band that's already established, and bring what seems to be your own sound to the mix, and how you've insered your own flavor in Rhino Shrine while also taking into consideration their body of work.
(GJ) Sam is a man of many flavors.
(AT) He’s more established than any of us.
(SA) I don't know, I've been doing music, and I've been a working musician for a really long time. I’ve gone to school and college in a lot of different places. I've been in a lot of different bands. I've been on nationwide tours, recorded a few different albums before, and mainly it wasn't ever really a problem for me to jump into a existing project because I'm super comfortable with it. I think the biggest thing was just kind of figuring out the feel or how everybody vibes in this group, and that went really well. I still hate Adam, but… we worked through it-.
(AT) I run this meeting, I'll shut you out.
(SA) But yeah, no, so when I was talking to... I knew Gavin before any of them because we worked together and when he talking to me about their last drummer leaving, Martin. #BringBackMartin I wanted to come play with them for a little, and I come primarily from... I play a lot of classic rock, and even now, I'm super way more in the punk and hardcore than anything, but I just kind of worked out whatever they were throwing down. It's kinda what physically inserted myself into their work. Normally Gavin will come up with an idea, Bud’ll add, too, and I'll go start playing whatever... Whatever comes up, and it just works.
(MN) Cool! So it sounds like Gavin typically comes to the group with ideas, is that correct?
(RS) whole band) Yeah / And Bud / (nodding)
(BR) They’ll make the riff, and then we'll kind of jam on it, and then he'll do a drum part, I'll do a bass part, you'll do (pointing towards Adam) trumpet or keys, and then we'll just sort of structure it together.
(BH) Yeah, it definitely does start with a riff though!
(AT) We have a lot of riffs.
(BH) Ad usually it's hard because it's just one riff. Then we just kind of need to do something there.
(AT) A lot of jamming on the riff.
(BH) Yeah, I would say that, yeah, that's generally how it starts - with a riff and then I get built upon in practice.
(SA) I wouldn't even necessarily say we have any set goals in mind because right now, every single time a me, it's, “Oh, I have this new riff,”
(AT) It really annoys Sam
(SA) Yeah, we have maybe at this point, close to ten songs fully written and gotten out. We just keep coming up with new ways to do everything.
(GJ) They’re half-baked. We have like 10 half-baked songs. There's an ADHD involved.
(AT) It takes a good three months of jamming and saturation on the song before it's really done, we just tangent every time we play it.
(MN) At what point in this process, then, do lyrics come about?
(BR) That’s all Gavin. Gavin, why don’t you do it?
(AT) He mumbles stuff for a good month and a half, just sounds.
(GJ) Yeahhhh, usually it's just like a free style and then it's mostly just syllables that sound good, the words don't really mean anything until I get most of it down-
(BH) And then tweak.
(GJ) Then there’s little pluckings.(BH) I would say - this is my perspective - when you're trying to figure out, when we sometimes do this at practice, but we're trying to figure out the vocal melody, Gavin will kind of just say random shit, basically
(AT) He's very good at random shit.
(BH) It Sounds good. It's kind of like a nonsense freestyle that will form into the lyrics somehow, and that's when –
(AT) If you've ever heard the Paul McCartney “Turkey Legs / Yesterday” story.
(BR) It’s typically more about the melody of the vocals than the lyrics.
(SA) I just wanna grow out there as the new comer to the band, I was listening to Rhino Shrine when I first found out Gavin had a band called Rhino Shrine with the rest of these guys, and I'd sit down and listen to him, “Ah, feel good jams.” Then once I really started listening, I just kind of thought to myself, “Holy shit, what are these guys on?” I wanted to be part of it. It’s so, it's like a whole Beatles thing where nobody really knows what it means, and if you ask a Gavin, he’ll just say, I know I was thinking about...
(BH) You can kinda do with it as you please.
(BR) You can interpret it how you want.
(BH) We don't really put much stock into the words to be honest.
(GJ) Some things come pretty fast and then other ones do take awhile. If I kinda wanna continue with a theme or something.
(AT) There's one, we re-wrote the entire lyrics to the song on the way to record the vocals. In the car on the way we re-wrote ‘em
(BR) What song was that?
(BH) I don't remember.
(AT) It was a while ago.
(BR) Was it one of the one’s on the EP? Was it Dr. Bug?
(BH&GJ) It might’ve been.
(AT) It was… “If you lay down with dogs // you’ll get up with fleas.”
(GJ) Oh, that’s “Koala Man.” That one did have a lot of changes that when I do a lot of Janet. Yes, right… And it's not a solo effort, too. If I say something stupid, I want them to be able to be like, “Hey man, stop.”
(AT) And we love what he says, is the problem, and we go “Gav, that's amazing.” And he goes, “No!”
(BH) It's true.
(GJ) We're not too connected on one thing, or like, too…
(BH) Invested?
(GJ) Invested, yeahhh… So we kinda - It's cool if it changes, and usually sometimes that might lead to something else, like a new part or whatever, too.
(AT) Like I said, it's about six months of jamming before it ends up being what it is.
(MN) So, lyrically, the songs are very open-ended interpretation-wise, as far as what you're hoping listeners get out of it.
(BH) For sure.
(MN) What, then, is your goal when presenting a song to a fan or to the populous? What do you want them to take from it, if not a literal meaning from the words that are song?
(GJ) That is solid question.
(SA) Honestly, I think that can all be summed up with the phrase “tasty jams” because whenever we go into writing anything, it's not like we sit down and think, “Oh, let's write a song that we could play at the Rowhouse – RIP – or let’s come up with a song that would be popular at like Astrolounge. Literally, somebody comes in with an idea and say, “Oh, check out this tasty lick, it slaps, this is fire, gang gang!” We just riff on it because we think it sounds awesome. Everything just kind of works gradually together.
(AT) We play what we like and hope other people like it.
(SA) That I feel contributed to how we... How just me even coming to this band moved us away from what their stuff was beforehand because just coming up with new ideas kind of how we have a bunch of music already, like song already written, we just... The other day we sat down and categorized them to see what would work best with each other, so it's never...
(BH) We don’t have an end goal.
(SA) Yeah, we don't have an end goal, and I wouldn't necessarily saw we say we have one set style, we just have, recently, a heavier metal kind of sound. We wrote one song, this kind of a punk tune, and another one that's super Latin heavy inspired, so just whatever sound good to us.
(AT) Play what we like, what sounds good, and once we see enough that work well together, group them up and call it an EP.
(BR) I think in terms of lyricism, I feel like just musically, in general, a lot of our songs are a little bit more instrumentally focus, and then the lyrics, they usually come later. They just may be a little more open ended. In terms of your actual question…
(BH) We wanna go for a good feeling jam.
(BR) A musically interesting thing. Something that keeps the listener entertained.
(GJ) Keep ‘em guessing a little bit.
(AT) Something you get drawn into when you listen, not something that's too in your face, not something that's too... forcing this or this. something that you sit, and you kinda go “Huh, okay, that's odd.
(BH) Basically however it shapes out at band practice.
(MN) So with this conversation we're having right now, you guys talk a lot about riffage, you talk a lot about jamming, you talk a lot about sort of this organic nature of song creation. That's on the back end. On, I guess, the front end, when you're putting together a project - which with, My Goodness, you've just gone into the studio - how do you package, how do you tighten up the looseness there and figure out what qualities, what aspects of a song are going to actually make it on a record and what fringes get left off?
(BR) I think it's a matter of trimming the fat. We make the song, and for the EP before we went - 'cause we were paying for studio time - and we did it all in one day, except for over dubs. We were like, “We wanna have these songs like 100% down, ready to record,” and basically we just make the song and then we play it for several months, like Adam said, to refine it. Take something out or perform it. If something starts to drag or isn't long enough, we just refine it until we're like, “Okay, if we play it like this and someone’s recording and we're in a studio, that's good enough for the record.”
(MN) When do you know it's good enough?
(AT) Generally it's kind of just once it feels settled. We play a for 3, 4, 5 months, whatever it is, at practice over and over, we play it live, we do demo little recordings on our phone or in Garage Band and listen to those over and once it kind of... We play it differently over and over as we're learning the song and creating the song and what not, and it's really just... We kind of feel it's done once it stops changing sos much... Once it really settles into its final form I guess.
(BR) Its final Pokemon evolution!
(BH) I guess as far as choosing what song go together, out of all the other ideas we have, I would say how we choose what we refine is sort of like...I don't know, it’s just looking at what we have and start trying to piece it together. Imagine if we either don't have an ending for one song, what we could do to the end that would sound good going into another song. I guess like... We tend to write a lot of different stuff songs. We're kind of like we have an identity problem, but we rethink it as a strength, so that's why we included the song “Bobby’s Big Day Off,” which is just a pretty stupid little jam that Gavin did. I'm pretty sure the slide guitar is a Juul.
(AT) He didn't have a slide, so he used his Juul!
(GJ) I’m not super proud of that.
(BH) We went with something silly to kind of break up the song because they do have a different feel.
(AT) It was a little heavier of an EP, we need something light to balance it out.
(BR) Yeah, yeah, something more simple, so it breaks up all the super layered… Being in a 5 piece, there’s a lot going on. So having something like “Bobby's Big Day Off,” it's just kind of like a pallet cleanser.
(AT) Yeah, it's all kind of a palate cleanser, a balance. I know I'm at least big on full albums. I listen to a lot of vinyl and albums entirely. I like it, I like it to fit, to feel like a concise piece that flows pretty well, and I think just touching back on a difference with this and our other one, that's actually something that was very similar on our live album. We designed that as a set list, as something to kind of be like a live show. Something that fits together really smoothly, and I think that's something we tried to keep up here and always try and do is something that really flows nicely.
(MN) Yeah, so I was going to ask: Your last album, Monday Night Live, was recorded live while playing on a radio station. How does preparing and actually recording a project differ when you're doing it that way versus when you go into a studio?
(BR) I think they were surprisingly similar because I feel like when you record a studio album, you either record parts individually, or you kinda do it all together in a live room and then maybe do overdubs stuff. With the exception of trumpet and vocals, we did record it together in a live room. So I think the process was kind of similar in the sense that we had put a live album, we had our set list, and we just practice it again and again, 'cause we knew it was gonna be live. Then with the EP, we were going in for one day, so obviously we can do multiple takes, but it was kind of the same thing. We just practiced the songs again and again once they've gotten to that refined state. Then it's just we get very comfortable with them, but there were also differences, those are the similarities.
(BH) Yeah, the live album just kinda felt a lot more like we were just prepping for a show.
(BR) There was more stressed to it. It wasn't as laid back, very different thing.
(GJ) Neil’s house was very comfortable. Just was sitting in his living room. We knew we had some time, he was cool, but yeah.
(BH) He’s a super laid back dude. Everything he makes it really easy.
(AT) Very nice hanging out there, and, yeah, we got to spend the day there and hang out and we walked in there knowing our songs. We went in and we played each one just four or five times, whatever it was, and took a 20-minute walk around Dinkytown and popped back in for the next one.
(SA) Just regarding what Gavin just said, can we shout out Neil? What did he change the name of the studio to?
(AT) Blue Bell Knoll.
(BH) Blue Bell Knoll.
(GJ) Blue Bell Knoll.
(AT) We were at Blue Bell Knoll. Great guy, did an awesome job with it, he was so great to work with.
(MN) Working with Blue Bell Knoll, located in Minneapolis. You guys on your EP announcement made a strong point to shout out the people in this community that you've worked with on this project. What does it mean for you guys to be a band from the Twin Cities and in this area?
(AT) Minnesota music all the way.
(BR) The Minnesota music scene, the whole local scene, “DIY…”
(BH) I tend to like, I think it’s fun working with people that are sort of close to you and around you, so you're gonna see what else they're doing sort of... I guess that's why I sort of like...
(BR) It's like a community.
(BH) …the local aspect.
(GJ) It’s pretty artsy.
(BR) It’s very artsy.
(BH) It’s pretty artsy.
(MN) What do you mean by that?
(GJ) It just seems like there's a lot of creative people. Maybe it's because of the long winters and a lot of basements.
(SA) Yeah, there's a lot of seasonal depression.
(BH) A lot of shit happens in basements! I never thought of that!
(GJ) I don't know. Yeah, it seems like it’s a pretty welcoming place for kind of showing your ideas, even if they're not fully fleshed out or formed or whatever.
(BR) All the house shows and all the local bands that we've seen and worked with and played with are pretty much always super nice people, super open and welcoming. Everyone's got a different sound, and everyone is so happy to share it. “This is my music, this is your music.”
(21:30 Here the conversation sidetracks for a moment. Rhino Shrine asks Eric Martin of Melodic Noise some specifics about a DIY venue he used to run. Skip to 22:35 for the rest of your regularly scheduled interview.)
(BH) I mean, the BUNGE garage shows were the best shows ever.
(AT) Fucking tighttttt.
(BH) Wait wait, can I ask you a question?
(MN) Yes.
(BH) What was your guys set up? Did you have neighbors in on it, too?
(MN) So the first year we did it, I lived with six other guys in the house that owned the garage, and the ladies that lived next door were friends of ours through the Ski and Snowboard Club.
(BH) That's right.
(MN) They were okay with it. The second year, I moved to the house next door with a bunch of our gal friends, and there was about 15 of us that lived on this big commune, pretty much, and just threw shows there.
(BH) Okay. 'cause yeah, I was always curious because the show we played at, and the ones I just went to, you guys would like go to a 1 AM, and I was like “That’s stupid!”
(GJ) That’s rare.
(BH) Every other house show, it’s like 11:30 and, “The cops are here. The neighbors are mad.”
(BR) We get in trouble.
(SA) We could’ve done it here, but…
(22:35 Diversion ends. Rhino Shrine begins to discuss their own efforts to throw a DIY show)
(BH) It’s true. We were thinking about doing it (DIY/basement shows) in here where we practice.
(SA) No, we weren't even thinking about it, we repainted my basement. I built a stage, hung up lights I painted murals down there. We were ready to go!
(AT) Ready to throw shows down.
(MN) That seems like almost too much effort for a DIY show.
(SA) I have standards!
(GJ) It’d be a “Pinkies-Up” event.”
(BH) Nah, we would illegally sell grilled cheese. I think that's a great idea.
(BR) I think we can still figure that out.
(BH) Without a “grilled cheese permit.”
(SA) It’s not okay to do! That's why I’m here!
(BH) No, no, some onions on there.
(AT) I wanna make one more point on the end of your question though, too. I personally, I'm a big old Minnesota music fan, I'm big into The Suburbs and The Replacements and Hüsker Dü, all those guys, and, first off, we recorded in the place that all went down back in the day, so that was really cool, just right off the bat. That is a just kind of how it worked out, but it was cool, nonetheless. And yeah, then it was... We had a couple of options when we were looking at mastering, and I was talking to a lot of people in the industry I knew, and one of the names that kept getting thrown around was Greg Reierson of Rare Form Mastering, and he had a ton a credentials under his belt. Everyone loves him and vouches for him like crazy, and I'm also a Minneapolis guy, so it was really just easy choice for him of, “Yeah, keep it in the city.”
(MN) Awesome, thank you. So originally, My Goodness was slated to come out back in June, if I'm correct, and it's now been push back, what, 2 and a half months?
(BR) Yeah, about that.
(MN) Can I ask what precipitated that?
(SA) It was more or less the idea that there had been so much going on that originally it was a good idea to release an album at a time where people had lot of time to themselves. We were all on lock down or whatever, and it would have been fantastic to have been able to release our music to people who were looking for something to hold on to.
(GJ) To cure their boredom.
(SA) But then once everything else started heating up with the civil unrest, and everything started to heat up, for me, I don't like to get a big head with this thing. “If Rhino Shrine released their EP, everybody would stop talking about what's happening,” but at the same time, it was more or less a notion that every little bit helps, and we can forgo taking away from the conversation at hand, then that would have been our best option to support those people trying make their voices heard.
(BH) To put it very crudely, we felt like we should probably just shut the fuck up, like honestly, that's exactly…
(AT) We didn't need to be taking from that spotlight, we aren’t what people should be focusing on.
(GJ) Yeahhhh… “ChEcK OuT WhAt We’Re DoInG.”
(BH) It wasn't the time, it wasn’t the place.
(MN) So taking that time to sort of reflect and interact with the world at large instead of focusing on putting out music, has your opinions on anything on My Goodness changed at all?
(SA) I forgot how to play all of the songs.
(AT) Yeah, there’s that.
(BR) We’ve been playing new songs, we haven’t played the actual, we haven’t had to keep it fresh for a show.
(BH) Yeah, we haven’t been playing shows.
(SA) It’s one of those things where I think - I was even just listening, I listened through the whole EP last night start to finish - and I'm still in love with how we recorded it, all the sounds that are coming off of it, and the songs that we wrote, so it's still fresh in my mind. I honestly love it the same since we first started recording it. I think the only difference at this point is if we wanted to sit down and try it all again, it may be a little bit rusty because it's not on the forefront of our minds.
(BH) I would also say, I think we're always gonna try to keep moving a little bit.
(BR) We’ve kind of moved on… creatively.
(BH) Yeah, exactly… So I think, for example, and I don't know, I think we all agree on this, but we wanna do – at least, I would do - a little bit more cohesive projects or maybe a little bit more...
(BR) Album oriented.
(BH) Well rounded. So I think we're always gonna try to… maybe it's song transitions or some weird little jam in between something, I think we're gonna try to the next overall bigger piece of music. We're always gonna try to keep moving a little bit, so I don't know any us really thought we should do something different with My Goodness, but I think we all have ideas moving forward a little bit.
(AT) We’re happy with it, and it's a solid piece, but it's already kind of… We’ll certainly have to clean them up once shows come back 'cause we'll be playing them, but the stuff we're playing now already sounds quite a bit, quite a bit different.
(MN) Awesome! Being that the world is in the place it is right now, you can't do shows, you can't go out putting up flyers around town, you've been sitting on this album for a while, and now - without much word - a week before release, you guys decide to sort of announce it to the world. How are you guys planning to position this piece of music to your fans and to potential fans?
(BR) We should have thought about that.
(SA) I've always felt that the biggest way to gain a following was through a few steps, and the first one being get big in your local seen. I do everything that way, and admittedly, that's really hard to do when shows are going on, so when we first planned, whenever I think of release for anything that I do, it normally starts out with going out, playing shows, getting it out word of mouth. Even if we're playing a show with a few different bands, like let's say somebody shows up to see Baumgardener or Alien Book Club, and we happen to be on the bill for that night, they might leave thinking, “I got to see the band I wanted to see, but I'm gonna follow Rhino Shrine.” Hopefully, the next show they go to, they go to because they wanna see us play. I feel like like that's really how it gets built up, in keeping a lot of interaction with people as they follow us. And that's kind of hard to do, but at this point, if we waited to release when we could start that up again... Well, who the hell mills when that's gonna be? So right now, at least in my mind, it's kind of like a Hail Mary at this point. The people who know about it are looking for it, but hopefully it's good enough - I think it’s good enough - that when it's released, it won't matter how much we're shouting about it. We tried, but if people like it, then they'll show it, they'll spread it, and we'll just keep promoting what we're doing time and again... That's how I see it.
(AT) That’s perfect. And this is the big one - talking to you, I mean, that's huge. We got something lined up with Ear Coffee coming up pretty soon. We're trying to get a few other people involved, and we're certainly gonna keep doing some projects as well. We've got some videos that are in the works right now that might be showing up a little later down the road. We're already are talking about getting the next stuff into some sort of recording form, so we'll keep busy, we'll keep active and hopefully keep on everybody's mind, and they'll like it enough that they spread the word like Sam said.
(MN) Yeah, I think of you guys very much as a live band. I've seen you several times, I always enjoyed the show. The first time I saw you guys, I was blowing away, and that's when I decided to reach out. It's very tough for bands these days, when they don't have that outlet to A) express themselves or B) get fans. When this all comes back though, I'm very much looking forward to seeing you and I know our readers are too.
I want to ask you guys what you think your biggest sell as a live band is.
(GJ) I think we have a good energy, we're pretty positive and easy going, so maybe, so it's not like…
(BH) The energy, it’s all about the energy.
(BR) We play with so many punk emo-punk bands that, of course, we end up doing shows like that, and we definitely don't have that sound, so it can be a bit of a...
(BH) Separated.
(AT) We have a decent enough variety that we got something for everyone, and somebody's gonna find something they like no matter what, and I think we are pretty easy going group and easy to get along with, and hopefully people like working with us and hanging out with us and things... Yeah, I don't know.
(BH) I would say it's hard to tell when you're playing. Honestly, the answer I would choose, I would probably just ask someone who watched this and be like –
(GJ) I'd love to look up more.
(BR) Not all of our music is very - a lot of it isn't - super moshy, so if they're not moshing…
(BH) It’s harder to tell if they like it.
(BR) Exactly, exactly. But I guess just like for the EP, some of the – or for the live album, some of the songs are literally just jams, but we needed to fill time, so… If you like a jammy kind of thing with improvisation and solos and stuff, I feel like we can lean into that a little bit.
(MN) I guess before we rap this up, 'cause I guess our meeting is running low on time.
(AT) I was gonna say, I certainly can grab a new one if you had a little more for us, but...
(MN) Well, see, I think I'm getting close to the end, so maybe we can wrap it up, if not, we’ll hop on another. I guess if you could say - in one sentence, each of you - why somebody should check out My Goodness when it drops on Friday the 28th, I'd love to hear it.
(GJ) It’s really good? That’s two words.
(MN) Give me a full sentence.
(BH) Man, that’s a toughie.
(AT) Because we’d really really really them.
(BH) I would say…
(GJ) Because we think you’re cute.
(BH) For the riffs. For the drumming. For the ghost notes.
(BR) For the ghost notes.
(AT) For the ghost notes. That’s like a band’s name, though. For the Ghost Notes.
(BR) Why does anyone listen to any music?
(AT) You could listen to it to test out your new car speakers? That’s gonna be mine. Test out your new speakers.
(BH) The practical reasons.
(AT) Metallica ages their whisky with sound, you could do something like that. Use it to age some liquor.
(BR) Because they might enjoy it.
(BH) 'cause they might enjoy it.
(AT) ‘cause they might enjoy it.
(BH) ‘cause they might enjoy it. You never know.
(SA) You know what they say, “that some may you do, but that you may one day see all the things that want.”
(BH) I think that’s all of us.
(AT) I think that sums it up for everyone.
(MN) Wonderful... Well, thank you guys so much, really appreciate your time. Looking forward to seeing the release, and look forward to sharing this with all of our readers.
RS: Right on / thank you / love love
(MN) Have a great one, guys.
You can check out more from Rhino Shrine on Bandcamp.
Interview and Review by: Eric Martin, Writer @eamartin95
Edited by: Andrew Perrizo, Owner @PlaylistTC
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