Tiny Magnetic Pets | Matt Connarton Unleashed

0:00 Speaker 1: That ought to get you moving on a rainy Saturday morning. That is Lost My Guiding Light Again by Tiny Magnetic Pets. Whoops, something else is starting to play. I got to pull that down. It is a rainy Saturday morning. Apparently, I'm not quite on the ball there. But let's see. We've got the fine people joining us via Restream from Tiny Magnetic Pets. Good morning. Let's see. So we've got, I know, I see Paula there.

0:23 Speaker 2: Hi, Paula.

0:25 Speaker 1: Paula Gilmore, of course. Gilmore, rather.

0:27 Speaker 2: I'm sorry.

0:28 Speaker 1: The vocalist for Tiny Magnetic Pets. And then who else do we have with us?

0:32 Speaker 3: Eugene.

0:33 Speaker 1: Eugene, welcome.

0:34 Speaker 2: And Sean.

0:35 Speaker 1: And Sean, welcome.

0:36 Speaker 3: Thank you.

0:37 Speaker 1: Welcome. Okay, so Paula, now obviously you're the vocalist. And then Sean, what do you do in the group?

0:46 Speaker 2: Good question.

0:47 Speaker 4: I play synthesizers and sometimes a bit of guitar whenever it's called for.

0:54 Speaker 1: Gotcha, gotcha. And Eugene, what's your role in Tiny Magnetic Pets?

1:00 Speaker 5: I play electronic drums and acoustic drums occasionally.

1:05 Speaker 1: Okay, excellent, excellent. And you're all, all three of you are from Ireland?

1:14 Speaker 2: Yes.

1:15 Speaker 1: Outstanding. So I want to know more about that song, Lost My Guiding Light, again. You know, I was kind of talking, as I was about to play it, I was talking about how I think it's sort of relatable in that what I get from it is, you know, kind of feeling like, feeling uncertainty, maybe in your career or something, a choice that you've made in life where maybe you feel like you're kind of.

1:40 Speaker 1: You're not sure whether you're on the right path. You're questioning yourself, questioning your choices maybe. What I'm taking from that, is that kind of the idea of the song or am I reading too much into it? Tell me about the song and what the lyrics are about.

1:58 Speaker 4: Well, what you're reading into it is basically what it's about and we're kind of glad that it kind of comes across because a lot of the time our lyrics tend to be a bit abstract or kind of leave them open to interpretation. But with Lost My Guiding Light, again,

2:17 Speaker 4: it's just basically about what you said about, you know, everybody loses their way at some point and you're looking for that, you know, for your guiding light. And it can be anything, whether in my case, losing the head of the bar on stage when we're playing live, I'm looking for the one where I can refocus and Or if you just basically lost your way, whether emotionally, whether spiritually, morally, and you realize you've lost your way and you're looking for a way out and you're looking for that guiding light.

2:51 Speaker 4: And that's where the title of the EP comes into because Astrolux is Latin for starlight.

2:57 Speaker 6: Okay.

2:58 Speaker 4: And it's just based on sailors using the stars to guide themselves.

3:02 Speaker 2: So they were kind of using guiding lights, basically.

3:04 Speaker 3: Okay.

3:05 Speaker 1: Thanks a lot.

3:06 Speaker 3: Navigational star.

3:08 Speaker 2: She's got a star tattooed on her shoulder.

3:10 Speaker 6: Navigational star.

3:11 Speaker 7: Yeah, I think for guiding light, and your guiding light can be whatever it is, like something totally relatable to you.

3:18 Speaker 6: I mean, for me, music gets me through a lot of things. For other people, it can be simply a walk.

3:23 Speaker 7: For somebody else, it can be therapy. So that's what ultimately the song is about. Have you lost your guiding light? I'm trying to find that. I think it's very.

3:31 Speaker 6: Relatable for the world we live in today and in current times.

3:35 Speaker 4: So, yeah.

3:37 Speaker 1: Absolutely. Absolutely. And I'm curious, too, about the decision to revisit this, because the reason it's called this version is called Lost My Guiding Light. And then parenthetically, again, is because it's actually the song goes back to 2017.

3:51 Speaker 2: Correct.

3:52 Speaker 1: And this is a this is a new version of it.

3:58 Speaker 4: Yeah, it was where this came about initially was last year we were asked to play an EDM festival here in Dublin. And we were looking at songs that we hadn't played live before and which would work in an EDM setting, but which we could play live. And we dug that one out. But obviously the way it was performed in the studio, the way it was recorded, it needed just a bit more oomph to it. Because basically what you do live and what you do in the studio generally can be A lot of times it can be two different things.

4:35 Speaker 4: Something that sounds brilliant on record may fall flat whenever you perform it live, no matter how accurately you perform it on stage. So we thought we'd dance this one up a bit. So we stripped a load of stuff out of it and we just kind of let the sequencers do all the work. But once we had it done, we added the coda and this is a completely different recording now. And we decided to We would probably release it, record it properly, and then release it. And again, in brackets, comes from, it's a kind of cheeky reference to Bowie.

5:11 Speaker 4: We're all massive Bowie fans.

5:13 Speaker 2: Yeah.

5:13 Speaker 4: And he had a song called John, I'm Only Dancing. And then he did, a few years later, he did a completely different version of it called John, I'm Only Dancing.

5:21 Speaker 2: Brackets, again.

5:22 Speaker 5: Okay.

5:23 Speaker 1: So that was our kind of little.

5:25 Speaker 2: To the man himself.

5:26 Speaker 7: You've got to remember when, like, as musicians, it's very, very easy to just, like, we're fortunate we have our own rehearsal studios here in Dublin.

5:34 Speaker 6: And I guess, you know, it's very easy just as.

5:37 Speaker 7: Musicians just to, you know, Sean might add in something or I'll sing something differently.

5:41 Speaker 6: And we really, really love that.

5:43 Speaker 7: We are a band that likes to explore sounds and we're always, we're always messing around and we're also always changing songs and changing things up. And it keeps the interest for us As Sean often says, for us going to see artists in concert, we love when things are changed up or extended versions.

6:02 Speaker 6: It keeps the effect for us, particularly in rehearsing. So it's very easy for us to change songs.

6:08 Speaker 7: And alter things and maybe add in a different sequencer or different sounds. So we've done it with a few songs. We often call them pink and white, where pink will be kind of... one style and the bike would be the others.

6:22 Speaker 2: We've done it.

6:22 Speaker 7: If you look back on our back catalog on all the platforms, you can see that we've done this. This isn't the first time we've done this. We call this one again, but other times we have done like a pink version, a white version. And yeah, it's very TMP style. Something we love doing.

6:38 Speaker 5: It's also good to get people up on the dance floor. So that's a bonus. It's a bonus for us. So it gets people grooving.

6:45 Speaker 2: Absolutely. I love an old dance beat.

6:47 Speaker 5: Yeah.

6:48 Speaker 2: It was fine at the last show.

6:51 Speaker 1: No, that's great. I like the perspective, too. And this is a subject that actually comes up on the show a lot. But I like the perspective of doing things differently live, making them sound different live, these songs. Because, you know, a lot of artists kind of try to do the opposite, right? Um, a lot of artists want to replicate whatever they record. They want to come as close to that as they possibly can live because they assume that that's what the audience wants to hear. The audience wants to hear what's on the record.

7:22 Speaker 1: But to me, I've always looked at it as, you know, I, I want to be surprised. And when I go to see, yeah, when I go to see somebody live, I want to hear something, you know, I, I love it when there's something a little different, you know, throw me, throw me a curve. I love that personally.

7:36 Speaker 7: It's our job to entertain and, I think that's an important thing. And if we're buzzed by a change in a song, then we're hoping the audience will be buzzed by something as well. And I like a little bit of unpredictability to the point that I don't even know what I'm going to do on stage half the time.

7:55 Speaker 6: Sometimes I just take off and do these things. I love unpredictability. I think it's exciting.

8:02 Speaker 2: Yeah.

8:02 Speaker 4: The danger of not knowing what's going to happen is great. I've seen two of my favorite bands who shall not name And I was in the audience watching to basically recreate the records on stage. And I'm sitting there thinking I could be at home listening to the record.

8:20 Speaker 1: Exactly.

8:22 Speaker 2: Instead of watching it from a million miles away and hearing the record.

8:26 Speaker 1: Yeah.

8:27 Speaker 6: I mean, Eugene and.

8:28 Speaker 7: I were just in Tiers Cologne at the last Depeche Mode concert. And they've done some amazing extended versions of Just Can't Get Enough.

8:37 Speaker 6: There's a huge drum breakdown and everything. And it's absolutely amazing, isn't it, Eugene? Like it's, you know, the crowd love it. And you can see the band love it as well. So yeah, that was definitely.

8:49 Speaker 5: I personally think the hooks still remain and your certain kind of aspects of the song remain, but.

8:55 Speaker 3: You work it differently.

8:57 Speaker 5: Like we always said, the three of us, we attack the songs differently for life.

9:03 Speaker 3: We attack it this day. It's like, like a rock band.

9:06 Speaker 2: Yeah.

9:06 Speaker 3: You know? And I think that's very true.

9:09 Speaker 2: Yeah.

9:10 Speaker 4: I think you have to perform like a rock band on stage, whatever kind of music you're playing, you have to attack the stage.

9:16 Speaker 2: Like you're a rock band.

9:17 Speaker 1: Exactly. Exactly. It's like, uh, Gene Simmons once said in an interview, when you're on stage, you're there to kill. And I just love that. I always love that quote.

9:26 Speaker 2: Yeah. i am um.

9:31 Speaker 1: Speaking of speaking of being on stage so you've toured with uh omd a couple of times correct.

9:37 Speaker 2: Well more than a couple of times really.

9:39 Speaker 7: Done about 35 35 shows maybe with them easy yeah we did that loads yeah we've done.

9:47 Speaker 5: Major and we've we've done um shows with uh.

9:53 Speaker 3: Dave Koenig from The Killers.

9:55 Speaker 2: Oh, okay.

9:56 Speaker 5: Yeah, we've done quite a bit. Wolfgang Wittmann. on our album and also good friends of ours from Kraftwerk.

10:04 Speaker 4: So, yeah, we, you know, we're lucky. We're very lucky. But I think for basically an electronic band, but we live and die on stage and that's what it's about. We kind of live the live performance. Making the records is one thing. And we actually perform the parts live. Obviously, there's some sequencers at work there because there's only like three of us on stage.

10:30 Speaker 1: Sure.

10:31 Speaker 4: So you have to use sequencers and other things. But essentially, when you see hands moving on stage, we're actually performing stuff. And, you know, yeah, you can hear the mistakes and et cetera. Or Eugene will... drumstick will go flying and he has to walk across the stage and pick it up and stop completely that has happened yeah yeah don't ask me.

10:52 Speaker 1: Where but.

10:55 Speaker 5: Uh it hit off the pad and at the time i didn't have a another set but i just left the track the other day and i came back and i just Can.

11:06 Speaker 4: I point out, I think this was saying it subconsciously deliberate because the night before we were in Manchester. No, we weren't actually in the roundhouse. Yeah, but we were in Manchester and some guy comes up to Eugene afterwards and he's seen his electronic pad set up and not a regular drum kit. And he said, so are you actually playing that or do you just press play? And Eugene was very hurt.

11:30 Speaker 2: Yeah.

11:31 Speaker 4: I think it was a kind of psychological thing where the drumstick flew out of his hand so that you could hear the drum.

11:42 Speaker 1: Well played. Well played.

11:46 Speaker 3: Stuff happens.

11:47 Speaker 5: Yeah.

11:47 Speaker 3: You just can't control what happens live, you know?

11:49 Speaker 2: Yeah.

11:51 Speaker 5: Like personally, I don't do the same unless it's an important fill. But most of the drum fills, I don't repeat them.

11:58 Speaker 2: Right.

11:58 Speaker 3: I just, I like to have fun. Yeah.

12:01 Speaker 6: Yeah.

12:02 Speaker 1: No, that's, that's great. I'm curious too, Eugene. So are you, this is, this is also a subject that comes up a lot on the show, particularly with some of the guests that we have in our area who join us in studio. Are you in multiple projects? Because every drummer that I talk to these days, drummers have become almost, you know, like an endangered species, it seems like. every drummer is in multiple projects I have worked with other people but the main focus is TMP but yeah so I agree with you and it's maybe it's just the fact that like you know well.

12:44 Speaker 5: I program stuff I write my own songs so does Sean so does Paula so yeah but like the main focus is TMP but yeah you're right and I have been asked in the past to work with different people and that's, that's cool.

13:00 Speaker 1: Yeah.

13:00 Speaker 3: I always come home to TM.

13:03 Speaker 1: No.

13:04 Speaker 6: We all do.

13:05 Speaker 2: Yeah.

13:06 Speaker 4: We've all done kind of stuff with other people, but TMP is the main thing.

13:10 Speaker 2: That's what it's all about.

13:11 Speaker 1: Sure.

13:13 Speaker 6: Yep.

13:14 Speaker 3: Absolutely.

13:14 Speaker 1: And did I read something too about, um, I forget his last name. Oh, Tony Dorney of Republica. You've worked with him.

13:22 Speaker 2: Is that correct? Yeah.

13:24 Speaker 6: Yeah.

13:25 Speaker 3: That's right. He's a good friend.

13:26 Speaker 1: Oh, Tim Dorney.

13:28 Speaker 6: Gotcha.

13:29 Speaker 7: Yeah, he would master a lot of our tracks and he did Guiding Light and the last EP.

13:38 Speaker 2: Yeah.

13:39 Speaker 7: Yeah, we're good friends and we're actually sharing a stage with him in, when is it?

13:44 Speaker 2: Taunton in the UK next year.

13:46 Speaker 7: We're doing an electronic festival and another project he's in.

13:50 Speaker 6: We'll both be on the same stage.

13:51 Speaker 3: The festival next year is called Electronic Summer. Okay.

13:56 Speaker 2: Electric Summer.

13:58 Speaker 3: I beg your pardon? Electric Summer.

14:01 Speaker 2: Confirmed it.

14:05 Speaker 1: Festivals are great.

14:06 Speaker 4: He's a brilliant mixer. He mixed our last EP, Harmonious Grey.

14:15 Speaker 2: He did a fantastic job on both of them. Yeah, he's great. Very patient as well.

14:20 Speaker 3: Is he?

14:21 Speaker 6: Is he?

14:21 Speaker 1: That's good, yeah. What is it that he brings as far as, like, does he hear something in the music that you don't necessarily? Is he able to pull something out of it that maybe you weren't expecting? Does he surprise you at all when you're working with him?

14:35 Speaker 5: Yeah.

14:37 Speaker 3: Yes, he has done that in the past.

14:39 Speaker 5: Like, he's a real effects man, and, like, he'd add, like, dub delays and kind of dubby kind of vibe to it. where we wouldn't may have thought of it or just, uh, let something fly. And we just go, Oh, hang on. What did you do back there? And something to carry on. So he brings exciting little ear candy to the table.

14:59 Speaker 4: Also, we were just talking about, uh, lost my guiding light again, uh, just before we came on air. And one of the things he did with that is he faded the drums out at the end. So it kind of ends on kind of nice kind of ambient string washes, which was, um, Really nice, really nice touch.

15:15 Speaker 2: We hadn't thought of that. So that was good as well. So he'd do things like that.

15:20 Speaker 4: He'd put little bits in. There's some white noise sweeps that he's thrown in there. We don't mind people just getting involved with stuff. It's important to be creative.

15:34 Speaker 6: He tends to do our EPs and then our albums.

15:37 Speaker 7: Katie Tavini, who would be a very renowned master, she's doing our forthcoming album, we worked with, with Gareth Jones producing. And before that, we've used an American guy, um, Chicky to mix, uh, our master.

15:51 Speaker 2: Our songs.

15:52 Speaker 7: We've, we use different people for our albums and then we used him for, um, the last few EPs. It's kind of the way.

15:58 Speaker 6: It's been, isn't it?

16:00 Speaker 2: Yes.

16:00 Speaker 5: Okay.

16:01 Speaker 2: Okay.

16:02 Speaker 1: Wonderful. I'm curious too. So, you know, obviously a song like, uh, lost my guiding light again. Um, you know, there's, there's, uh, you know, music is subjective and of course it's however you choose to interpret it. And we, you know, we talked about what the song means, but is it ever a challenge, you know, making this kind of music, whether you want to call it synth wave or whatever, you know, this kind of electronic music without like, do you ever worry about kind of losing the humanity in it at all?

16:29 Speaker 1: I mean, obviously I'm a fan of this kind of music. I love many different genres of music, but some people who don't care for it, they, they feel like they'll, they'll tell you, and I'm sure you've had these conversations with people. They'll say, they might say, well, that's not really my thing because I don't, I don't hear the humanity in it. I need, you know, I need guitars or whatever it is that I need. Um, is that ever a concern for you as you're making this music, kind of maintaining the humanity?

16:53 Speaker 6: No.

16:55 Speaker 2: Make this for yourself.

16:56 Speaker 7: You know, make this for yourself. It's not, it's not for others. You hope others will like it. And we have a really nice fan base. Absolutely latch onto it.

17:05 Speaker 2: Come to all our gigs. It's so amazing.

17:07 Speaker 7: Um, I wouldn't, I think I could never imagine trying to make music specifically as, you know, to order.

17:15 Speaker 6: To other people.

17:16 Speaker 2: Right, right.

17:17 Speaker 6: We just make it. It's a TMP sound. Like it or don't like it.

17:21 Speaker 2: Yeah, yeah. Keep making it.

17:23 Speaker 1: Yeah, no, that's right.

17:24 Speaker 2: I don't really care.

17:25 Speaker 6: If I'm 100% happy with.

17:26 Speaker 7: The tune, I don't really care what other people think in not being in a bad way. But if I'm happy with it, and Sean's happy, and Eugene's happy, and James is happy, then we go.

17:37 Speaker 6: Right, cool, song, done, happy.

17:39 Speaker 1: Yeah.

17:39 Speaker 6: Out it goes. We're on to the next one.

17:42 Speaker 1: Yeah.

17:42 Speaker 4: And the thing is that people know, they see the word synthesizer and they just think of knobs, switches, dials.

17:50 Speaker 2: And then that instantly adds a psychological thing. Right. It's scary.

17:55 Speaker 5: Yes.

17:56 Speaker 2: Look at the killers.

17:57 Speaker 4: I'm sure people were saying the same thing about the electric guitar whenever it happened. But also, I would point out something like a Hammond organ. A synthesizer is cold and it's a machine. A Hammond organ is like emotional feeling. A Hammond organ, the only kind of expression you have with a Hammond organ is a volume pedal and whether or not to switch a revolving speaker on and off and a bit of distortion at key things. A synthesizer, you've got kind of modulation wheels. You can bend it. You can play it like an electric guitar or a violin.

18:31 Speaker 4: It's touch sensitive. You can have all sorts of control over the expression of it. But people just hear, oh, it's machines, and they just kind of like write it off as kind of cold. I would say listen to the opening of Ricochet Part 2 by Tangerine Dream and tell me there's no humanity or emotion in that.

18:50 Speaker 2: Right, right.

18:51 Speaker 6: I was just saying, you.

18:52 Speaker 7: Know, Future Islands, The Killers, they're all quite synth-laden, heavily synth-laden.

18:57 Speaker 5: Oh, yeah.

18:58 Speaker 7: So they don't kind of get thrown into those kind of groups, but they have loads of synths going on in them.

19:02 Speaker 5: Yeah. Yeah. I have to add one more thing to that. Like, um, craft work were called like robotic, but they didn't, they grew on stage when they played live.

19:13 Speaker 2: Exactly.

19:13 Speaker 3: Yeah. They grew. So it was hella, a lot of emotion.

19:16 Speaker 6: Yeah.

19:17 Speaker 2: Yeah.

19:18 Speaker 3: And that's what we do as well.

19:19 Speaker 5: Like obviously we played, I played to a click track to keep us kind of in with the sequencers.

19:25 Speaker 2: Yeah.

19:26 Speaker 3: I can play around the clip. I can pull it back. I can push it forward.

19:29 Speaker 5: Um, we, we can have, we can, and I don't even think it's there. So you play around things to make it move. And that's what we do. And that's what makes it human.

19:43 Speaker 1: Absolutely.

19:43 Speaker 2: I'd say anybody who thinks there's no emotion, come and see us. Come and watch us live. Right, right.

19:52 Speaker 1: And I would say, too, you know, to anyone who thinks that, you know, well, if it's not, you know, loud guitars and a full drum kit and all that, you know, anything that you listen to that was recorded in a studio, there's a lot of technology involved in anything you listen to. You know, and that's something people need to remember, too.

20:10 Speaker 6: I hope that Eugene plays a full kit. I mean, Eugene absolutely.

20:14 Speaker 1: Can play a full kit as well. Oh, yeah. No doubt. No doubt.

20:19 Speaker 2: My main instrument is the guitar.

20:22 Speaker 4: I'm a lead guitarist, that's my main thing, but my mood will blow with any guitar player off the stage.

20:30 Speaker 2: We actually have a.

20:31 Speaker 6: Lot of guitar on these tracks.

20:34 Speaker 7: There is actually a lot of guitar on them, so it's on Guiding Light again as well.

20:38 Speaker 1: Yeah, that's true.

20:39 Speaker 2: Check it out if you want to, everybody.

20:41 Speaker 1: Yeah, I would encourage people to check it out. I do love that song. Where does the name come from, by the way? The obligatory question that I used to always open interviews with this, but now I've learned to try to push it toward the end. But where does the name Tiny Magnetic Pets come from?

20:57 Speaker 4: Every time you think of a really cool name and you put it out there, you find out that some American bomb, the legal team's got the same name, and you have to change yours.

21:07 Speaker 3: Right.

21:10 Speaker 4: I was flicking through a toy catalog, and there's a Japanese toy called Tiny Pets, and they've got kind of like magnets inside them, and they stick together. They literally are tiny plastic things. It's kind of really weird. But the toy catalog, they misprinted the name as Tiny Magnetic Pets, and I thought, that's a name for a band that nobody else in the world is.

21:36 Speaker 2: Going to want. So... because it's awful.

21:42 Speaker 4: What do we call those tiny magnetic pets? And yeah, it's stuck. And people tend to remember it, which is good.

21:50 Speaker 6: And Robsi also called the pets their TMP as well.

21:54 Speaker 2: He called the pets their TMP. Tiny magnetic pests we got called.

21:58 Speaker 6: Tiny magnetic pests, tiny magnetic prats.

22:01 Speaker 2: Pony magnetic pets, we got that one as well.

22:05 Speaker 5: Yeah.

22:05 Speaker 2: But yeah, I mean, it's an air.

22:07 Speaker 4: It's no kind of ACDC or electric lead orchestra or anything or Pink Floyd, but it's a name.

22:14 Speaker 1: No, I like it. I like it. I think it's a cool name. I think it's a very cool name. As we begin to wrap up, and in a moment I'm going to play, I'm going to end our conversation with Low Places, the Decane remix. Am I saying that name right, Decane? That's Paul Decane, right?

22:33 Speaker 3: Paul Duquesne.

22:35 Speaker 1: How did this come about, this remix? Actually, there's two of them.

22:42 Speaker 2: Paula?

22:43 Speaker 3: Over to you, Paula.

22:46 Speaker 6: Oh, yeah. I was at.

22:48 Speaker 7: So friends of ours run a blog called Electronic Cafe, and annually they put on a show. We played at it a few times, and I went over to that the last year, and Paul Duquesne was actually doing the DJing at it And through a mutual friend of mine, Nick, introduced me to Paul.

23:09 Speaker 6: And Paul and Paula chatted. And that's kind of what happens in this community. Everyone is very, very, everyone's up.

23:17 Speaker 7: For doing things and remixes and collaborations.

23:22 Speaker 6: It's really, really exciting.

23:23 Speaker 2: So yeah, we just got.

23:24 Speaker 7: Talking and he suggested doing that. He said, I really like Low Places. And he's done on our Instagram. If you scroll back a little, there's a little bit where he does a little breakdown of what he did and it's really interesting on how he added the dynamics of the song and how he built it so um uh yeah you can if you want to have a look at that but anyway that's how that came about and i think we're doing a little bit more with them hopefully um the end of this.

23:51 Speaker 1: Year outstanding very very good uh and before we wrap up too i want to make sure our listeners will know where's the best place to go online to keep up with everything everything that tiny magnetic pets is up to where should they go online Well, you can.

24:04 Speaker 6: Subscribe to tinymagneticpets.com. You can sign up or run every platform.

24:09 Speaker 2: Perfect.

24:09 Speaker 6: Usual suspects.

24:11 Speaker 1: Perfect.

24:12 Speaker 2: Is it tinymagneticpets.com or tmpofficial.com?

24:15 Speaker 7: Okay. tinymagneticpetsofficial.com or tmpofficial.com. Okay.

24:19 Speaker 6: Come join us.

24:20 Speaker 2: Come say hello. We're all streaming platforms as well.

24:24 Speaker 4: And you can visit our band camp if you want CD, vinyl, or any kind of physical kind of additions, which we totally recommend.

24:34 Speaker 1: Yeah, and by the way, too, I'm glad you're on Bandcamp. I'm a big proponent of Bandcamp. Very, very artist-friendly platform, which is great. And also what a lot of people don't realize, too, is when you get your music from Bandcamp, you get a high-quality file more so than, say, if you're just streaming it on YouTube or whatever. So Bandcamp is amazing. I love Bandcamp, absolutely. So I'm glad you're on there.

24:57 Speaker 4: Yeah, plus you sell merch on there as well, which is great. We sold a lot of T-shirts and a lot of stuff. beanies, et cetera. And so, sorry, it sounds like I'm doing sell, sell, sell here.

25:08 Speaker 1: No, that's okay. That's all right. That's okay. We want our, we want our audience to know about it. Well, listen, I want to thank all three of you, of course, Paula, Sean, Eugene. Thank you. Absolutely. We will do this again in the future because obviously, you know, you're going to keep releasing new music. And so we'd love to have you back. And like I said, I love, I love that song. Lost my guiding light again. And, uh, we're going to play low, low places, the decaying remix. I really like this too.

25:35 Speaker 1: Um, so, uh, we'll let you go. Tiny magnetic pets. Thank you so much. And, uh, we'll talk to you soon.

25:40 Speaker 3: I'm sure.

25:41 Speaker 2: All right.

25:43 Speaker 3: You too.

25:44 Speaker 2: Bye-bye. All right.

25:46 Speaker 1: Tiny magnetic pets. And let's give this a spin. Uh, this is low places. This is, uh, the decaying remix. I really like this.