Intro Song: “Panic”

Jeff Deiss (0:00)
Welcome to the Badger Herald podcast. I’m your host, Jeffrey Deiss. And today we’re doing the second episode of the series that’s currently unnamed, where I interview artists from around the Madison area and Wisconsin as a whole. Today, we have a band that I’ve seen live and they are probably one of my favorite bands I’ve seen playing Madison, and that’s the band “The Present Age.” They released their album Avenues for Widespread Consumption last year in 2022, and they’re pretty awesome. So we’re going to talk to them about how the band started, upcoming music and other stuff like that. Let’s kick it off — how about you guys all go around and introduce yourselves, maybe say where you’re from, what you do in the band, and if you want to throw any fun facts in there, go ahead too.

Nigel (1:20)
I am Nigel, I play bass. I am from not around here — north of here in the small town that will go unnamed.

Logan (1:22)
My name is Logan. I play guitar and I sing. And I live in Oshkosh and I’ve lived there with Isaac for like, probably like eight years now. But originally from like the Fox Valley area, so kind of out there.

Brandon (1:40)
I’m Brandon, I play guitar and I reside in Oshkosh.

Isaac (1:44)
And I’m Isaac, I play drums and I’m also living in Oshkosh.

Jeff (1:49)
Alright, so um, how about one of you tell me how The Present Age started, maybe how it was originally founded and where it kind of came from, and the idea behind it?

Isaac (1:59)
I’ll pass that to Logan.

Logan (2:00)
Alright — it’s been a pretty long running project because Isaac and I have been writing music together since we were kids. And they’re like, a few different ways of us finding out what we wanted to do. But the biggest thing was in 2019, we teamed up with Nigel and Brandon. And
that’s really when we wanted to get a new band name at that time, we just like it’s this whole new project. It’s actually based on good exciting live performances and writing in a more collaborative way rather than me just saying what goes. So yeah, 2019 we all got together, we did kind of like a little tour around the state. And then and then we just kind of kept going from there. We write, we we play together all the time, we write all the time, so we kind of
wrote an album pretty quickly and then put that up — “Avenues” — and then we’re in the process of working on a new one. So really just, I don’t know, it’s a really good dynamic. We played really well together. They’re my brothers, and ultimately that’s what you want — it’s just people that you want to be around who facilitate the artistic process really well.

Deiss (3:07)
Yeah, I mean, I will say on your Spotify at least there are there is music out from 2017.

Logan (3:13)
It shouldn’t be!

Deiss (3:14)
I was I was going back and listening to it because I’ve listened to mostly the new the newest album certainly because that’s what I’ve seen you guys play live (and I think it’s probably the best thing you guys have done so far) but I listened to Apology and Daisies there is there is some great stuff on there.

Isaac (3:30)
This is like a long running joke where Logan wants to delete the past all the time.

Jeff (3:35)
Really?

Isaac (3:36)
You know like “Apology” and “Daisies” for example, it was like you know we were just in college and at the time, it was Logan and I, two-piece band, kind of bedroom producing, like, trying to make some kind of cool art rock or whatever. And so there was no live aspect to it. It was all studio and we got away with a lot of like textures and I mean, they’re fun recordings, but they’re definitely not accurate to what we turned into is more rock based.

Logan (4:01)
It’s just like have you ever I don’t know if you’ve watched “It’s Always Sunny” but…

Deiss (4:04)
Oh it’s one of my favorite shows!

Logan (4:05)
…the one where they went on the game show and it ends where Dennis is like, curled up, and is like, “this doesn’t represent me!” Like that’s how I feel when like, you know, we’re putting what we have music out there it’s just the two of us it’s like dream pop stuff. Completely not what we do now. And so when people look it up and like something like “Daisies” which tends, I think it has like the most plays because it’s been out the longest that’s the thing that people find and it’s like that does that’s don’t come to a show and expect it seems like false advertising.

Isaac (4:34)
Yeah, but at the same time I feel like people like seeing growth right .

Deiss (4:36)
Well that’s that was one of the was one of the I guess we can skip ahead a little bit of this one um, I was also listening to “Songs from Underground” and there is kind of like a progression
toward what you guys do now. It does not sound, you know, sometimes people have the same name on Spotify. And bands music will get put together and it’s like some guy from like the 70s with like a new band. I was like, “Is this even the same band?” because it does sound different but “Songs from Underground” kind of like, connects it a little bit, or it has some little more like the post-punk rock kind of thing going on. But it has a little…

Nigel (5:09)
A little the lighter stuff.

Deiss (5:09)
Yeah, yeah,

Nigel (5:10)
We finally were like, stepping into it at that point, you know, like, I mean, oh, yeah. I feel like that is a good transitional period at that time.

Isaac (5:20)
It’s kind of like, we all listen to that stuff, too. And before, you know, starting the band, the four of us it was like, we couldn’t reasonably play rock shows with two guys. And so, you know, we listened to kind of everything, and one thing we just really did love was kind of like, dreamy, atmospheric, you know, indie pop, or whatever you want to call it. And so we kind of went crazy, you know, insane-o-mode, doing producing. Like, it was like, just the sight of what we’d like to do. But then there came a point to where we’re like, you know, we gotta get a full band going and lean into more stuff, like, higher energy more like, stuff we want to want to listen to. Yeah.

Deiss (5:59)
And on the newer stuff, who would you say some of the biggest influences are on the current sound that you guys have?

Logan (6:08)
I mean, the big thing, and I should probably be a little more a little less obvious with it, but like, really Wire, like, there’s a lot of Wire that we’re pulling from on Avenues. And then on the next record too, they’re always they, they kind of sit at that place of like, kind of the art punk thing, where it’s like, it’s not, it’s not like the post punk talkie where it’s like, monotone. There’s more range to it. They’ll have some just like spoken word songs with like, weird synths, and I just think that’s like, there’s more variety there. But I mean, we listened to…

Isaac (6:41)
I feel like the core of it, too, is like, we don’t want to be a genre band. Like, we don’t want to be a post-punk band. Everyone’s gonna be like, “well, you’re doing like Joy Division, or Interpol or whatever”. It’s like, no, there’s more to that. Yeah. I think we all listen to so much diverse music that like, yeah, we kind of want to — it’s weird — you don’t want to be pretentious and say art-rock or art-punk. We want to try to make it as artsy and like, diverse as possible and sound at least unique in some way. But it’s rooted in post punk, yes.

Deiss (7:08)
Yeah. Do you guys — I guess this could be kind of a fun question — do you have any honestly guilty pleasures, because it’s not really a good term for it. But any kind of like out of left field influences where you maybe not like they directly influenced the sound, but there’s just like, some kind of music or band or artist, rapper, whatever that you love, people might not expect?

Logan (7:30)
I think we all don’t listen to a lot of post-punk or art rock or anything. Like we like, of course, we love it, and we still will listen to it. But like, I think we all, when we get together at band practice and we talk about music we’re listening to, it’s never stuff in that genre. It’s like, like, like, yeah, when I saw the Austro, Ryuichi Sakamoto…

Isaac (7:56)
We’re really into like the Japanese city pop and electro pop stuff.

Deiss (7:50)
Wow.

Isaac (7:51)
Um, yeah, like it sucks. Because recently Yukihiro Takahashi passed away and he was like, one of my favorites. But it’s synth pop, you know? And it’s, it’s really fun to listen to. I’m really into, like, British folk music, like finger picking guitar. It’s different. I mean, all the guys have different tastes because…

Nigel (8:10)
We talk a lot. I mean, I feel like we bring up like, jazz a lot. Just I mean, we’re, like, kind of deep diving into the Miles Davis crew. Oh, as like, because I mean, it’s kind of extensive and like, Yeah, who’s all played in like, kind of where it branched off. But yeah, a lot like the 50s, 60s Jazz. A kind of sprawls, I mean, that’s very loose, because it’s, I mean, it’s all sorts of during that time.

Brandon (8:41)
I kind of like dive into like the shoegaze-dreampop stuff too.

Logan (8:47)
And then there’s also like, the stuff that I’m trying to pull the band toward, like, some of the weird Krautrock stuff like Can or Faust and then also the musician, not the politician, but Scott Walker (late era).

Deiss (8:58)
Oh, yeah, I know.

Logan (8:59)
That’s, that’s like, ideally, we’ll eventually get to that point where like, Isaac’s playing like a piece of meat.

Isaac (9:07)
Before that I’d love to try and get as close to like Captain Beefheart as much as possible.

Deiss (9:11)
You gotta go psycho to play either of those.

Logan (9:15)
Pretty I mean, I don’t know about like, Beefheart, but like Scott Walker is a pretty reclusive, straight and narrow dude. And so he just like to make weird, creepy music. Yeah, it’s terrifying. But there’s just again, it’s just setting a nice like, abstract artistic goal like that. Wherever we get around that trajectory is going to be fun and interesting.

Deiss (9:38)
Well, back to your music a little bit. I kind of want to talk about Avenues, and then we can get into new stuff, possibly. But what was the writing and recording process like, for this album? Was it a concerted effort where you all said, alright, we’re going to write this next album, or did it kind of like, come together over a longer period of time?

Nigel (9:56)
I feel like… so we had a lot of stuff kinda worked out late 2019, early 2020. COVID hit, that was the big thing. Really kind of, I mean, it didn’t break us up, but it certainly put us on a hiatus. And then it really felt like … it was a weird time. It really put that whole project, I want, I don’t want to say on hold. But like, we really sat on this stuff for a while. I mean, a whole year we kind of worked on the songs. But like, there was a point where like, I mean, I don’t want to say like we weren’t going to put it out. But like it was, it got old. And it wasn’t, it kind of wasn’t fun to work on anymore. I’m glad that we did. I’m glad that it finally got like, put together but I mean, yeah. And then even like, once we finally were working on it, there was like long months of like, so we would like do a couple sessions. And then there’s months between the next sessions and then months between the next sessions. And then finally, we’re like, we need to get this done.

Logan (10:59)
Yes, so like “Swamp,” which was one of the first collaborative things we really wrote for that album, like, in general, really as a group. And that that was probably like, maybe early 2020. Or like, I think it was maybe going into lockdown or something. It’s been around a while. And then like we said, we brought it back. And like we’re working on the new record. And then like we had that song written and then like, I think one of the last songs to be added to the record was like the trio of like “Weak,” “Culture Industry,” “Juncture,” like what I think are like some of the more standout like…

Deiss (11:29)
I think those are kind of some of the defining songs of the album, especially when you play live too, like those are the ones I remember the most.

Logan (11:34)
And so then it’s weird, because we have the songs like, you know, that’s why the album, and I’ll say like, the album feels more disjointed than I’d like, just because the process was so stretched out. And it wasn’t like you said, it’s like, it’s not like, it wasn’t fun. But there was definitely this element of like, okay, we gotta get this out, like just just put it out so we can move on to the next thing. Because we write songs a lot. We are always writing songs.

Isaac (11:56)
I was going to say, I don’t know how a lot of bands work necessarily, but like for us, we don’t really go in with a plan. We don’t say, alright, let’s write a song today. Or, you know, we have to get a record done and above, like, we just kind of go in and we’re always playing. It’s always like a new idea comes and goes. And I think the problem is if we don’t keep moving enough, and like putting stuff out and like playing, we just kind of get bogged down with too much stuff. And avenues taught us that it’s like it was a long process of just, we got to keep putting stuff on it.

Nigel (12:23)
Well, it was a weird feeling too, because like, yeah, like, we obviously wanted to put this stuff out. But at the same time, it took so long to do. And then like if kind of felt like this, like this weight, kind of like bearing down on us. Like we couldn’t move on without doing this. We like I don’t know, like we kind of get in this weird pickle. Because we started to work on new stuff. We started honestly tracking for our current project that we’re working on now. And but then at the same time, we’re like, okay, no, but we really should just get this done. Like it’s, what are we doing here? Because yeah, we were just kind of going to jump in just completely miss all this stuff. And I mean, there’s going to be a single coming out this year, that did not make it to that album. And we really thought that it was a strong piece that um…

Isaac (13:12)
I think ironically, it sounds a little more like “Apology” than anything.

Nigel (13:15)
I mean, it’s interesting, but like, it’s a strong piece that we like, obviously, it’s not gonna fit on this current record, and it did not fit there, it was a weird time.

Deiss (13:27)
Yeah, definitely. Definitely. Okay, yeah. And I kinda want to talk about some individual songs. Specifically the lyrics. Do you primarily write the lyrics Logan?

Logan (13:36)
Yeah.

Jeff (13:37)
Yeah, the lyrics, I think stand out on the project a lot. It seems a lot like a critique of consumerism and stuff like that. I mean, just look at the album title. Are there any songs like “Juncture” — I think it was talking about your child being an advertisement and everything being an advertisement. That one was pretty straightforward, I think. But um, “Culture Industry” was one where I kind of want to know from your perspective, what is that song about?

Logan (14:04)
So “Culture Industry” is kind of like a weird, surreal, like, story of a conglomeration of a few different people I know or think I know, or, like myself is in there, too. But basically, it was like, I got really, I realized that I had been approaching music, and being in a band and writing songs in a really weird, not healthy way. Like living in Oshkosh, there’s just not much by way of a music scene. Now there is but you know, like a few years ago it just wasn’t as known. And we didn’t get out that much. And so it was just, I felt kind of trapped and stuck. And then it was just everything was so external rather than me just like writing in making art for the way I wanted it. And then that leads into the idea of like, the idea of a culture industry, which is with advertising, being everywhere and affecting us in ways that we don’t even know necessarily recognize, myself and a lot of people were fed a pretty lame on realistic view of music and the artistic process and what it means to be in a band, or to be in a scene. So it’s that whole song is just talking about how disillusioned I was about something that — or a person was — that they thought they knew and loved, and, you know, stick themselves like, I’m a musician, I’m an artist, and then they’re going about it in this entirely weird inaccurate way. And like, to the point where, like, you know, I always have moments where I want to quit music. But like, that’s an example of like, okay, I’ve been doing this literally my whole life. It’s the thing I care about the most. And yet, there are outside forces that are warping it. So it makes me feel like I’m not good enough, and I shouldn’t do it. And so then you just, you know, make it a little less obvious and have other storytelling elements and some, like, imagery. And then, and then that’s that.

Jeff (15:55)
Also, yeah, that was it. Because it was a little more — some of the songs are, I don’t want to say, straightforward, but I kind of get the point but that was different. I was interpreting it in different ways. I was like, I don’t actually know where this is going. But that makes sense.
Now, I kind of want to talk about your live shows. I’ve seen you guys play live. I remember I was sitting next to Ayden, who you guys know, and I said, “this is my favorite band that we played live with.” But anyway, yeah, I kind of want to talk about your live shows a little bit. So um, one thing I noticed the most is your vocal style. And I won’t make the whole interview about him or anything but you kind of got this like Robert Smith yelp kind of thing that you do. The little scream thing. I don’t know what it is. But it really makes the performances sometimes — it just so much energy even like you’re doing like some vocal line, and there’s just like this, like unholy scream you hear? And how did you kind of like develop that, that little thing?

Logan (16:52)
Sure. So I like you’ll hear it on the older stuff, like I tried to sing and I tried to sing well, and I never found my voice. And it never got to a place where I was really happy with it. And then as I started listening to less straightforward pop music and more like, you just hear that, like there’s a variety of things you can do with your voice. And I always kind of fancied myself as a dynamic vocalist. But there were literally elements of my voice that I wasn’t incorporating, like trying to sing like Morrissey is like one speed, you’re trying to sing nice. And then all of a sudden, you’re like, well, where’s the like, where’s the talky bits, where’s the shouty bits, where all these things I can do that make for an interesting performance and help with expression overall. And then also, I was just writing a lot of words. And then it’s just really freeing to just like not have to think about hitting the right notes. And it’s just about what’s this force that we’re like putting out on stage.The yelps and screams and stuff is like, like, I mean, like, you know, I grew up with music that was yelpy and screamy.

Isaac (17:54)
We are all fans of the Cure for the record.

Deiss (17:56)
Yeah, I can imagine. Yeah, um, another question I have is, both of your guitar parts. I like how they kind of interlock a lot and kind of build on each other. When you guys write a song, is there one guitar part that usually comes first and then you kind of like, add to it or… kind of explain how you guys come up with that.

Brandon (18:17)
I think we both like, we’ll just come to practice, like with a part written, that we maybe wrote at home or whatever it is, bring it to everybody. And just like that’s the structure. Let’s base everyone write their own parts around this. So yeah, I mean, that’s kind of how it goes. I like to think of Logan and I as like salt and pepper. We kind of like go very good together. But we’re almost opposites.

Nigel (18:41)
There’s a good contrast there. Yes. But it definitely occupies different ranges, but also like it at the same time it like, it fills the spectrum that we’re kind of trying to get to.

Logan (18:53)
Yeah, absolutely. I mean, he approaches guitar in a way that I don’t, and I approach guitar the way that he doesn’t. And so we’ll come with like rudimentary ideas of a song. And that might be kind of rooted in however we play. But really, it’s just like, the whole band is just allowing everybody to do what they do best, just freely. And then we just constantly see everybody build on whatever it is that they do. And then it just gets better as you keep doing it.

Deiss (19:18)
Yeah, and actually speaking of that, the way you guys approach guitar differently, were any of you classically trained in music? Or how did you all learn your respective instruments? Because I’m just wondering.

Isaac (19:33)
Yeah, I mean, we can all probably individually answer, but I yeah, I’m not trained in any way. I started trying to learn guitar because I thought it’d be really cool. And then my little brother Logan grabbed my guitar and was like, 10 times better than me right away. So there’s a reason for that, but I’ll let him explain. So I kind of in my life growing up, I kind of just ended up getting pushed to drums like early on. But that’s not a bad thing!

Deiss (19:57)
No, it’s a great thing.

Isaac (19:58)
Everyone’s got that story of like, I was jamming with my buddies in my neighborhood. And he plays bass. He plays guitar. Well, I’ll be the drummer and I kind of learned but I personally am self taught just trying to get better. Listening to all kinds of music. Hopefully I’m good enough.

Nigel (20:15)
It’s funny that you say that, like, yeah, we all have that story because like Brandon and I, we’ve been making music together since I’ve been making music and way back in high school. And I’m also not classically trained by any means. And we, you know, we’re filling the spaces and that’s what happens when no one plays bass. No one wants to play bass. Well, I guess I’ll play the bass, and I do. I mean, I didn’t realize how much I truly … I realized how much that when I’m listening to music, I’m listening to the rhythm section. I’m finding the groove and what that and it happens to be the bass and drums and like, I mean, there’s I mean, there’s guitars and there’s other like instruments that really lean into that. But yeah, I mean, so. Yeah. It’s like, yeah, with The Present Age, as far as Logan and Isaac having like, their whole backstory lore, like, Brandon and I have been making music together. Since yeah, way back when, and then again, in different iterations and whatnot. But like, him and I stuck together throughout the whole time. I mean, we were in some little project … we played a show with The Present Age. And it happened that both our bands were kind of falling apart at that time. Well, it’s funny, because we actually — we’re like, “oh, we like each other. This is great. We should play shows together.” And then like, “actually, neither of us have a band. So let’s maybe try to be a band together.” And yeah, luckily, I mean, Brandon definitely did the talking. He bridged that gap. And he also stuck with that we are a package deal, and I appreciate him for that.

Logan (21:59)
It’s amazing, yeah. And then you think, if Isaac and I have this history together, we’re playing we’re on a wavelength. So to simplify it and have another pair of people on the same wavelength, then you’re just mixing two parts together rather than mixing four discrete different things. Yeah, I’m classically trained. I teach cello. Like, I’m a cellist and I started on cello then I played bass. Bass was my main jam for a long time and I started playing guitar. I wish I wasn’t. And it’s this double edged sword of like…

Deiss (22:30)
No, no, no, I’m a church choir boy. Okay, I’m like, fully classically trained…

Logan (22:35)
The thing about it is — it changes the way you approach music, which in some ways is really nice, because it’s like knowing a language. And then in other ways, it gives you all these rules that you think you have to follow all the time. And I think that’s why I didn’t start making, I mean, we’re close to a punk band, now some sort of some variation of punk. I didn’t start making punk music until I was like 24, 23-24. And like, usually, you do that when you’re younger, but I was so in that classical world, that everything had to sound nice and put together and clean. And now it’s like a matter of this is us exploring like breaking conventions. We know the rules, so we can break them.

Deiss (23:13)
I will also say, I know that being classically trained, because you know, this language of advanced stuff, sometimes you try to make things too complicated. Whether it’s like writing a chord, I’m like, “Oh, why would I write a four chord pop song, if I could throw like a ninth diminished fifth?” Yeah, and like, and like, get that, oh, well, that kind of stuff. Like some people like that. But to the average listener, they’re like, “I don’t actually want to listen to that. I just want to hear some like punk music or something.”

Logan (23:30)
There’s a great Bill Evans quote about and I can’t say it verbatim, but basically, like this idea that you need to know music theory is like, you need to know it enough. And like integrated enough to know the rules to break and then you can just not even think about it. And so that’s kind of the process. I think it’s like, these guys can if you they’re interested in learning music theory, they obviously can, but we kind of have a language of our own that we communicate with ideas like really effectively. And it keeps this element of like, spontaneity and fun. And I mean, my favorite songs are the ones that like they, they bring this there’s this like, this novel, exciting thing. Like I couldn’t write them, but they write them. And they’re, they’re my favorite. Yeah.

Deiss (24:20)
Yeah. Um, I’m gonna ask one more question about Avenues and then I want to talk about some new music, and then we’ll wrap it up. Just a quick question, kind of fun question off of avenues. What is each of your favorite songs? If you want to give like a little 20-second explanation as to why or what whoever wants to go first go first.

Nigel (24:41)
Swap. It’s Swap and I think it has a lot to do with that being are like, that was a completely collaborative effort. We all there was no like, there was no one person that brought something to that song. It was I don’t know if we just were like it was just like an improv moment or what that kind of like sparked it. But we all it once it happened it clicked and that was and I think that really spawned kind of what we were kind of in some ways, gearing towards this uh darkness and kind of like eeriness, but also I mean yeah, having a nice groove. But yeah, that was a good point of yeah, it being this is the present age. This is what we sound like.

Logan (25:33)
Um, it’s weird. I like I like different songs for different reasons, obviously. I like “Culture Industry,” because when we were working on that song, I thought it was so crazy that we were doing that it was like the most like, it’s the farthest boundary I’ve pushed in a song yet lyrically and like, structurally, it was cool and like doing this Velvet Underground thing. Honestly, though, like, and I love “Weekend,” I love “Juncture,” sleeper hit, I think “Outsider” is really cool. I think “Outsider” is a cool song. I don’t think I think the courses are super cool. And I think I think we should play all the time. It should just be I think it should be appreciated more. Like the whole, like, just don’t be bringing it into work. And then we just like bash away on that riff. Like, I just like, it’s really cool. And it’s about being fed up at a at a like, customer service job. Originally, there was a line where I say just might kill every customer that walks my way. But then Isaac said, I sound like an edge Lord. And so then I changed it to can I do a dance for a pre approved pre approved wage, which is fine, but it doesn’t it’s like this bitey aggressive song and I don’t know if it translates that way on the record, but live it does.

Brandon (26:41)
My favorite’s probably Backup Plan. It was just a lot of like thinking going on in it like like a lot of chord changes. So it’s just like, I gotta I gotta like, make sure that I’m focusing on like, what I’m playing to be able to be on time and like, hit the notes with everybody. Yeah, it’s also like, that was one that I brought to everybody. And I was like, kinda like scared to bring. I was like, i hope they kind of like this. Like, I didn’t know if it was gonna be a hit or a snoozer. And they liked it right away. And I was like, it just like, made me more confident. Like, I can just bring something to the band, and they’re gonna be welcoming to it.

Isaac (27:17)
But since Culture Industry and Swamp already said, I’ll say “Weak,” “Weak” was fun, because that’s the one that we basically didn’t write, it just happened instantly. It’s like, it’s fun. It’s simple. Like, it is like, you know, it’s 6/4 time. So it’s got like, you can vibe to it. But it’s a little smarter than just a straightforward, you know, hard hitting song. And I think the energy and lyrics behind it have a nice meaning in my opinion. And it’s kind of cheeky, it’s fun. And I think it’s one of the best ones to play live in my opinion, too. It’s got a cool energy to it. Yeah.

Deiss (27:56)
Cool. So now um, last question I have, what else can we expect from the present age in the near or distant future depending on how fast you guys work?

Logan (28:06)
Well, new record.

Isaac (28:07)
Yeah, definitely new music. Most of our sets, like, over the past couple months have been over half of our new stuff. So we are almost entirely done recording it. But because we do it on our own. There’s no no timeline, the goal would be to have it out, hopefully. I don’t know. Should I say anything.

Logan (28:27)
It should be good to go by like, mid or the end of March.

Isaac (28:29)
We wanted to have it done around the time avenues came out and have another fresh cycle of stuff. So hopefully in a couple months, butit’s all been written out. We’ve been playing it we’re already probably starting to read new music. So we got to keep moving.

Logan (28:42)
It’s called Radio Static Intelligible and it leans more toward it kind of takes the Juncture vibe and runs with it. I think there’s more. Like, you know, there’s a brand new punk song to it. That’s like, like a minute-20, it’s brief. That’s probably one of my favorite songs in the record. There’s some like Afro beats stuff in there. There’s some, like, pretty abrupt changes.
I think lyrically it’s like, it’s probably the best thing I’ve written not to be like a goon but I’m just I’m really proud of it. I think like it’s conceptually it’s really tight. Um, a lot of fun songs on it kind and just like every song is cool. And there may or may not be a song thats 17 minutes long on it.

Deiss (29:98)
Oh, wow. I always love that, long songs.

Isaac (29:32)
But yeah, it’s the most collaborative thing yet. I think, you know, like most musicians would say it’s like our best yet because it’s the newest but I do. I do think it’s gonna be pretty cool. I’m excited.

Nigel (29:42)
I’m excited. Yeah, I feel like it’s really pushing our sound as The Present Age. Further. I don’t know it is definitely we haven’t. It’s not like that we’re changing or anything. I just think that it’s a stronger piece than Avenues which I think hopefully you know like I hope that’s what everyone’s kind of gunning for as they’re progressively writing more material.

Logan? (30:12)
It’s dark, it’s heavy. High energy, it’s super cool.

Deiss (30:17)
I’m excited too, I need to listen to this now! Cool, um, anything else anyone want to mention before we go and I think we can wrap it up.

Logan (30:32)
Nope, but thank you for having us.

Deiss (30:33)
Of course, thank you guys for coming in you are the second ones ive dont so just start it off with a bang so far, just trying to keep it going. But yeah, make sure to listen to Avenues of Widespread Consumption by the Present Age and get ready for Radio Static Intelligible.

Outro Song: “Juncture”