I recently caught up with Miami hard rock band Black Jacket at their rehearsal space to talk about their newest EP “Resurrect”, a recent spate of successful shows in Central and Southwest Florida, and the state of the music industry in general. Check out what members Phil Letizia (vocals), Zelick Gimelstein (bass/vocals), Franky Stone (guitar), and Mauricio Aguilera (drums) had to say.
So I heard you guys were talking about a video. Are you doing it for a certain song?
Zelick: Yeah, I mean, we wanna do one for one of the three songs off this record [“Resurrection”, available now on iTunes, Amazon, CDBaby, etc] so if we can figure out which one when we’re ready, either one would be good.
Franky: We have a few ideas but we just try to make it simple now. [turns to the others] Think you want to do a performance video?
Zelick: Yeah, a performance video. We want to do something with the idea of the light bulbs and just a weird, different way of shooting a video and not your typical video that everyone does. Like it’s not in a warehouse and the same s--t on the street.
Franky: Or in a construction place.
Zelick: Or a construction zone. More like the old Pantera videos.
Franky: Yeah, kinda. Dark bulbs. That’s it.
Zelick: Minimalist! Very minimalist.
[Franky has an idea and mentions the name of a space]
Zelick: That would be a good room to do it in though.
Franky: Damage a couple of rooms, but a stage that’s wide and small. Big open area.
[all talking over each other about the position of this stage and how they’d move]
Zelick: And it’s dark, the walls are dark. In here, it’s too f---in’ white and bright.
Franky: It’s too bright. We have to paint it.
Zelick [laughs]: I ain’t paintin’ anything man.
Franky: What about curtains?
Zelick [teasingly]: Phil said he’d paint it.
[Phil looks at Zelick]
Zelick [teasingly]: Nah, you’re not gonna paint it? [jokingly] Such an a-hole, dude.
Phil [jokingly]: Not anymore.
Franky [jokingly]: You had your chance.
I understand you recently had a successful show in Cocoa, Fla. – what made you guys decide to go there, specifically?
Franky: To get out of town. To leave this place for a little.
Zelick: Get the hell out of Miami.
Not West Palm or Ft. Myers or someplace like that?
Zelick: I have a pretty good relationship with Cristina [Feliciano, lead singer of Ft. Lauderdale hard rock band Oblivious Signal] and Oblivious Signal, keep in contact or whatever. And when we did our CD release party, I was like ‘well, who do we want to play?’ and decided we wanted to play with her and that band.
She’s really cool.
Phil: She is nice.
Zelick: And she’s the one who actually hooked me up ’cause I was telling her we kinda wanted to get out of town a couple weekends this month. And she’s the one who hooked me up with the promoter in Cocoa. She said ‘I’m doing this show in Cocoa, talk to this guy’. And so I talked to this guy, James, I sent him our music and he was like ‘oh, you guys sound great and we’d love to have you up here for the show’ so we were like ‘hell yeah, let’s get the f—k out of here. The f—k out of Miami for a little while. It went great, it was a great show. It was the second in a series that this guy did and honestly, the crowd there was great, I mean they stayed. . .
Franky: People actually stayed.
Zelick [amazed]: They stayed the entire time, from 8 p.m. to almost 2 in the morning. The whole club, the whole place was full.
Franky: It wasn’t like the first band played and then, ‘bye guys, see you later’.
Zelick: That’s like the scourge of Miami/South Florida.
Yeah, you have to go to at least Broward/West Palm Beach and then only certain places.
Zelick: Yeah, the further north, the further away you get from Dade County, the more loyal people get and the more people who care about live music.
It’s very interesting.
Zelick: Yeah, seems like it. We got a show August 30 in Fort Myers. That’s going to be our next show.
Where at in Ft. Myers?
Zelick: Rack’Em Billiards.
Seems to be the new place. Miami hard rock band] Falseta just played there.
Franky: Even these people played there, Gears.
Yeah.
Zelick: Yeah, they’re taking care - Ft. Myers/Cape Coral area- is taking care of local music really well.
They have nice rock stations.
Zelick: They have a couple rock stations up there that play local music, especially 96KROCK.
[clapping in the background]
Zelick: Met this guy online, Todd Snow, who knows the guys that do the local show on Sundays there and I sent him some music and we started talking. He’d already been playing Gears. Knew Eli and knew we were in a band together [Endo] and they started playing our music and I talked to the promoter of Rack’Em and he was like "hey, we’ve got August 30 open, why don’t you guys come up?" and we were like "f--k yeah", so just seems to be a good scene up there in the Central/North Florida area.
Even Orlando has a rock station. How does Orlando have one and we [Miami-Ft. Lauderdale] don’t?
Franky: Yeah, it’s weird.
Phil: They robbed us.
Zelick: They still have WJRR up there and WJRR still does a Sunday night local show.
Franky: Still?
Zelick: Still. Native… Native Noise, I think?
[Phil imitates tribal chanting]
Zelick [deadpan]: No, no not that.
Phil [jokingly]: Sorry, I heard native.
[laughter]
Franky: That’s been around for a while, JRR.
Zelick: Yeah.
You never realize how much you miss rock radio until you go to somewhere that has a rock radio station.
Franky: Soon as you cross Alligator Alley, halfway through, that way, you start getting rock music. It’s f---in’ incredible. I mean here you got 105.9, but it’s the same Hendrix, which I love, but you go out west – boom! Rock stations. Unbelievable. It’s f---ing insane. Used to be here before, we had 97GTR and all that s—t.
Zelick: And Power 96.
[all talking about their favorite former rock stations, 94.9 Zeta being a favorite choice].
Franky: Back in the old days, you know what I mean? Rock stations would support local bands. I found a bunch of videos they used to show down here like Young Turk and Marilyn Manson and all these bands. They had a local Sunday night show on TV.
Zelick: They used to have big concerts as well, like huge concerts with local bands. I mean the first big show that Endo played was ZetaFest in 1999.
Franky: Yeah, I remember dude.
Zelick: It was at Markham Park. I think so.
Franky: With Stone Sour and Godsmack.
Zelick: Maybe it was ’98.
Franky: What we’re saying is there was a rock scene down here.
Yeah, I keep hearing about this.
Franky: There was. A humongous. Huge.
Then it just left.
Franky: A lot of bands got signed out of here. A lot of bands.
Zelick: This [mainstream rock] scene died completely when Endo and Nonpoint got signed. Once we [Endo] left, that was it. No one else carried the torch after that. We all left on tour for a year, we came back, the scene was already dead. I mean it lasted from the mid-eighties to about 2000.
Franky: The late 80s you had your Saigon Kicks, The Mavericks, The Young Turks, the Marilyn Mansons then started the other wave of 90s bands. The Endos. Actually, Matchbox Twenty used to come down here all the time.
They still come here, but in Hollywood.
Franky: They were called The Secret before they were Matchbox Twenty, a really long time ago.
Zelick: We were hanging out with Adam at The Grind, what was that place that him and Gil used to do open mic nights? At this place on 125th and Biscayne, called The Grind or something like that? That was right when Matchbox was starting. Then they blew up and they left.
Franky: Yeah they switched from The Secret to Matchbox Twenty and the rest is history.
Zelick and Mauricio: Maybe if we change our name we’ll blow up. [laughs].
Zelick: But yeah, there was a great rock scene.
Franky: Then it just died.
What do you think caused that?
Zelick: This is going to sound s---y, but I think that…
I’ve heard it all.
Zelick: I think that the really good bands at the time, the bands that had something special, special enough to get signed and get out of here, got out of here, and we were gone for so long and there just wasn’t anyone who could carry the torch. I mean, you can only have so many great bands in one place. Like, exceptional quality. You can have a lot of good bands, but you can’t have 10 exceptional bands in one market. It just doesn’t happen because if that happened, hundreds of bands a year would get signed. Also, the fans grew up. They get older. They start having kids and families and they go. And I believe that technology has really demystified music, big time. It’s taken almost all the mystery of music away.
People know what your band’s all about before you even release one note of music. And it’s a good and bad thing because your chances for exposing yourself to new people is great but the value of that music is decreased because you don’t have to go to the store and pick up the record anymore, you don’t have to stand in line to get tickets anymore.
You don’t even have to go to a show if you want to see a band live anymore. You can just go on YouTube and hear whatever you want, stream it for free. People don’t give a s—t about sound quality anymore, really, especially the younger generations are not exposed to that at all. Anyone past Generation Y has no exposure to that world other than going to a show once in a blue moon.
Franky: And when they’re there, they’re blown away.
Would you say that’s more for mainstream music or for all music in general?
Franky: General.
Zelick: I think music in general. When Lady Gaga’s coming out and she’s number one for only selling 650,000 records.
Franky: You used to get dropped.
Zelick: In 1999-2000, if you sold 650,000 records and you were Lady Gaga, you would get dropped.
Franky: In the mid 80s, late 80s, you’d get dropped.
Zelick: Endo’s first record sold 150,000 copies. We almost got dropped, back then. If we sold 150,000 records now, we’d have people throwing millions of dollars at us.
Franky: Absolutely. That’s the way it is, it’s so weird. The reality of the way the business is right now. It’s like those days of bands selling 10,15, 20 million records are so far gone.
Zelick: It’s gone.
Franky: It will never happen again. So it decreases the fan base. Anyway.
Zelick: Getting back to the topic of why the scene died down here, I just think there was a time for it. Time happened, where literally 1,000 kids would come to a local show that 10 bands would put on together. I don’t believe – I don’t care how good the bands are down here anymore – I don’t believe, I don’t think that can happen again down here. I just don’t think it can. The venues we play at are few and far between whereas back then venues were more willing to put on an all ages show because they knew they could charge $5-10 at the door and make their money. Now venues don’t want to do that. Can’t say I blame ‘em, but you got to give someone a shot somewhere. And there are promoters in town that try to do the right thing and try to make s—t happen. Bands are lazy.
Franky: Bands are lazy.
Zelick: Bands are very lazy.
That is a huge one.
Franky: Bands are lazy and a lot of bands don’t support each other.
Zelick [jokingly]: Our drummer is a perfect example [of being lazy, as he’s been setting up his drums for over an hour].
[everyone laughs]
Phil: Sorry buddy!
Franky [laughing]: Bands are so lazy, if you see them play live, you will see who is the laziest in the band.
What I’ve been seeing lately is a lot of bands just expect things to happen because they think they’re “special”. [sarcastically] Okay guys, that’s totally not how it works.
Zelick: That’s never how it worked, even back then.
[clamoring, in which someone says ’’you have to bust you’re a--’’].
I’ve noticed a trend with a lot of bands, they’ve been playing for at least 10 years before a record label even notices them.
Zelick: Well, Rage Against the Machine was together for like 10. Guns ‘N’ Roses “Appetite for Destruction”, that album was out for almost 18 months before their first single hit.
There’s no such thing as an “overnight” sensation, really.
Zelick: So a lot of these bands just think that “I look cute and I put on f—king makeup or I put on f—king leather and I write and my music is the s—t and people are gonna love us. And it’s just more than that.
Phil [in an affected voice]: I wear studs on my vest.
Zelick: And all they want to do is social media and they don’t go out and they don’t flyer or put up posters in the venue, they don’t do s—t. It’s like you said, they all want things to just happen for them. Plus none of ‘em know how to network.
Franky: Yeah. I mean, I’m learning.
[everyone laughs]
Zelick: See Franky’s the opposite. Franky’s the one that goes and hits the streets ‘cause he has no idea how to use social media.
Franky [laughs]: This is true.
Phil [jokingly]: Computer, what the f—k is that?
Franky [jokingly]: Computer, what the f—k is that? Give me a beeper. I’ll get back to you on the payphone.
Phil: You know the beeper code still, don’t you?
Franky: Absolutely, man.
[all start saying ‘143’]
What do you say about the alternative scene? Not here too much, but elsewhere. There was this awards ceremony – you know Alternative Press, the magazine, right?
Zelick: Yes.
That they put on. Bunch of kids, kids younger than me – teenagers – and they packed in to see all these bands and this awards ceremony. Kids in the alternative scene and like alternative bands like Pierce the Veil and All Time Low, people go rabid for these people. I just find that interesting because how you said no one cares – but a lot of them say “this band is amazing!” and “sounds great!” And of course you have the random two people who are like “yeah, they’re really cute”. Most of them will tell you though “no, they have really good music”. All Time Low has sold out like every time they’ve come down here. They put on a kickass show.
Zelick: These are bands that I’ve never personally got into.
Yeah. It happens.
Zelick: Maybe they’re a generation behind me but I mean, yeah definitely.
They’re poppier too, and they’re funny.
Zelick: But yeah kids like this Pierce the Veil band and stuff like that.
Franky: Dude, my daughter loves that s—t. I come up to see a concert – it was the one in Coral… the amphitheater back there—
Zelick: In Boca? The one in Boca West.
I think I was at that one.
Franky [trying to remember]: Pierce the Veil um…
Phil [teasing]: She was there with the phone.
No, I don’t do phones.
[Phil laughs].
Franky: It was full of kids! F---ing packed in there, bro.
No, you try to do a phone at their concert or A Day to Remember concert your phone’s going to be broken.
Franky: Yeah, doing moshpits and circles and s—t.
A Day to Remember, they seem to attract a lot of “dudebros”. I can’t.
Zelick [laughs]: Dudebros?
That’s what they are [laughs]. A combination of a dude and a bro. A very bad combination, especially when they’re drunk.
Zelick [to Phil]: You’re like a dudebro a little bit. You’re dude-brody.
Franky [laughs]: Brody?
Zelick: You’re a little dude-brody. I didn’t know that was alternative, I thought they were metal. I don’t even know what these genres are anymore.
Franky: They’re metal ‘cause [makes chugging sound to imitate the sound of a metal guitar].
I don’t even mess with the genres anymore.
Phil: They create their own s—t.
Franky: A heavy Blink-182.
Zelick: What are we? I have no f---in idea how we classify ourselves.
[someone says “rock”].
Franky: A heavy Blink-182 [in reference to A Day to Remember].
Exactly. I’ve always read that they’re very influenced by pop-punk and stuff, but they like heavy music too.
Franky: Yeah, like they’re heavy but they’re like Blink-182 without the fun punk thing, but they’re f---ing heavy.
They make some really hilarious videos – they’re doing it right.
Zelick: A Day to Remember, that last video, the one I showed you [talking to Phil].
Phil: That thing was bada--.
Zelick: That one was so awesome.
Which one?
Zelick: I think the one where they’re all cartoons and s—t.
Oh yeah.
Zelick: The one with the tattooed guy at the beginning that’s like [imitates an old man’s voice] ‘I want to tell you a story’.
Franky: Yeah, that place was f---ing packed though [talking about the House Party Tour in Boca Raton last October].
Phil: Horrible acting though.
Zelick: Horrible acting.
They’re actually very smart. They were in this huge protracted legal battle with Victory Records, their record label, before they released their best-selling album, ironically. And the judge awarded that they were allowed to release it.
And prior to that, they were releasing all these videos about their studio process and just funny stuff. Common Courtesy, that’s the name of it [the best-selling album], they had a whole video series on it. Their drummer has this thing called the Golden Eagle Company and they made a parody video of “All Gold Everything”. It’s a really terrible song [“All Gold Everything”] but---
Phil: Okay.
[Franky laughing]
Phil [jokingly]: F---in’ horrible.
[laughs] No, I’ve listened to both. It really is [“All Gold Everything”]. I don’t know how this is a popular song right now. I swear there’s a formula or something for [mainstream] rap songs today. Anyway. This [parody video, “Golden Eagle #allgoldeaglethings”] is the drummer. He calls himself the Golden Eagle [which is also the name of his street wear and skate supply brand] and you see him in a gold eagle costume.
Franky: Ha. That’s funny.
[In the background, someone says, “you gonna put on a costume, buddy?” to Phil]
Zelick: We’ll put you in silver lame’.
Phil: How about Sam the Eagle? [in a deep voice] I am Sam the Eagle.
The mainstream scene here died a long time ago, as you [Zelick] said, but I kind of wonder too if it just went underground, a lot of it. Because unless you really know about it…
Franky: It’s weird because there’s an underground scene here for heavy metal. Thrash. It’s f---ing huge.
Death metal too.
Franky: Death metal? F—ing [jokingly imitates death metal growl].
I don’t listen to it, but---
Franky: Sh--, I go to Churchills, I can’t f---ing walk in there.
Phil: I can’t stand that s--t!
Franky: You can’t stand it, but the f---ing thing is packed. You can’t walk in the f---in’ place.
Phil: Leave it in the past, bro [laughs].
Franky: It’s just weird. It’s just a genre of music that… you know?
Phil: It’s the future? Aw s—t.
Zelick: Listen there’s always going to a market for hardcore and heavy f---in’ metal.
Franky: The scene for rock bands down here is what has…
It depends if you’re talking about Miami. Because there’s a difference if you go by county.
Franky: The rock ‘n’ roll bands, the rock ‘n’ roll f---in’ bands, the scene is stagnant down here. You know what I mean? You go north or you go west, it’s f---in’ thriving. It’s weird. It’s just here.
Zelick: A lot of bands here are trying to do stuff that has been done a million times. It’s hard to come up with truly original music anymore anyways because everything’s been written pretty much but there’s different ways to go about it. I like to think we’re doing what the f—k we want to do and all four of us have such different musical backgrounds that when we come together and write songs, we have a particular vision and a direction but to me it’s something a little bit different. A lot of bands are just doing the same old s—t and I think that’s what also makes the scene get stagnant. You can’t rehash the same shit over and over. You gotta come up with something professional, come up with something well-thought out and you gotta have raw talent.
Franky: But it basically comes down to the f---in’ music.
Zelick: But if the scene for the past eight years has been nothing but s—t s—t s—t s—t s—t, then no one wants to go to shows anymore because that’s what they think they’re going to get, y’know? And again, it’s tough to find loyalty down here. I don’t know why.
And we were speaking about the songwriting process. Take me through your guys’ songwriting process. Do you usually start with with melodies first or lyrics?
Franky: It usually starts with a riff and then one of the other guys comes in and blends the s—t, then Zelick comes in and arranges it. I have to write a riff.
Zelick: Typically, you start out, anyone, you come up with a beat. And then we come up with the riff and I come up with the bass line also. And then Franky comes up with a guitar riff. Phil’s brought in a couple of vocal melodies to us that we’re attempting to write because we’ve never written that way.
Franky: Usually it’s the other way.
Zelick: Usually it’s the other way, usually the music comes, then the vocals come. It’s a little tougher when you’re starting with vocals that has no music behind it, then writing the music to it. We’re open to however it comes out because as long as the vocal melodies are strong, we want to figure out how we can capitalize on that and how we can turn that into a great song. But basically, it’s a pure collaboration. No one person in the band writes an entire song.
Phil: No ‘this is my song, you didn’t write this song’.
Mauricio: We have had some issues in the past with writers/other members. Ego problems.
[jokingly] They didn’t want to share?
[Franky laughs]
Phil: We are one. We may look like four, but we’re one. [grabs my phone, which I am using to record the interview, and speaks into the mic] One. Did you hear me? I said one.
What would you guys say are some of your musical influences?
Zelick: Musical influences, huh? I hate this f---in’ question.
Mauricio: Queen. Rush. And from Rush, I jump, I had a weird transition because of Nirvana coming out and Alice in Chains and the whole thing. But at the same time, I was starting to get into Metallica. So it was a whole combination of new things. And then Pantera and Helmet come out and they just riff and strum. Lyrics and very powerful. Iron Maiden, Slayer. Helloween. It was so much s—t, just giving you more information and styles, between 80s and 90s. And then when 2000 come out, it was a blender of all this s—t. Coming out with even more stuff like KoRn, Deftones and I guess you go through the time. But the roots at the end, I love Black Sabbath, Deep Purple, Led Zeppelin because I grew up with that s—t, my parents listened to it all the time. At the end I go back to my roots, and that’s Black Jacket for me. I love metal, I love thrash, I love rock, I love jazz, I love all this stuff. But at the end, as Franky said, some riff is rock or metal. You blend what you want to do at the end.
Zelick: My influences. I think Mauricio hit the nail on the head. I think it depends on where you are in your life when you first pick up your instrument. Where I was at that time in my musical journey, I was listening to AC/DC, KISS, Van Halen, Led Zeppelin. Every kid listens to Led Zeppelin. And then I started getting into Metallica, Megadeth, Slayer, Guns ‘N’ Roses, Motley Crue, all the metal stuff. And then when the early 90s hit, I was really influenced by a lot of that really early 90s alternative rock. Jane’s Addiction. Some of the underground stuff like Fugazi. Fugazi was a big influence on me as a bass player. Red Hot Chili Peppers was a big influence on me as a bass player. I started listening to jazz, I was listening to The Grateful Dead, I was listening to Phish. Anyone who had a kickass bass player, that’s who I was listening to. But honestly now, my influences are the three other guys in the room. I know that’s a cheesy answer, but it’s the truth.
Phil: I’d have to say Amy Grant. Then I jumped over to Rob Van Winkle. I don’t know. It’s really weird. Then I listened to some hip-hop.
Zelick [laughing]: You’re so full of s—t, dude.
Phil: No, I don’t know. I don’t really have an answer for this one. I didn’t really get into the whole music scene ‘til later. Late, late, late in life, after this s—t already happened. I was just always involved in singing, doing different things. I was in choir, which inspired me to sing more. I moved to Orlando and got into the pop scene. I was auditioning at Universal and Disney and all that and I ended up in a pop group. I was in a pop music group. Natural, which now I guess is touring in Europe. Only one original member in the band is the guy that stabbed everyone in the back. You go through that s—t though. Things happen. Gets you where you are today.
Franky: Everyone from Abba to f---in’ Frank Zappa. From A-Z. I like music period. I don’t care what genre it is, I’ve always been into music. My first influence was Elvis Presley, first thing I ever heard that was musical growing up as a kid. First thing to hit my ear was Elvis Presley’s voice. After that, Van Halen, Stones, and whatnot. More influenced by old rock. Stones, Led Zeppelin, that type of stuff. I like music period. KC and the Sunshine Band, Whitney Houston. Good songs are good songs, you know what I mean?
Phil: Yes.
Exactly.
Franky: I mean, *NSYNC. I love *NSYNC. People say a lot of s—t about it, but I love *NSYNC.
[smiles] Aw, I love *NSYNC too.
Franky: I [also] love f---in’ metal, I love thrash metal, I love death metal. It’s crazy, it’s f---in’ insane. I like music period. My influence is Van Halen as a guitar player. When I first picked up a guitar, the first thing I heard was him. Then, like Zelick said, I’m influenced by the guys I play with. When we first started this group, the first two guys, couldn’t have started it without them [Zelick and Mauricio]. They started the vision of putting the band together. Musicians I really respected down here. And we just started jamming and we felt something click. Then of course, the missing piece was Phil’s voice. And here we are, writing new music.
What’s one artist people would be surprised to find out is on your iPod?
Franky: Terence Trent D’arby, this obscure writer/great R&B guy.
Zelick: Maybe the Avett Brothers or Hudson Taylor. I love that buster music. Love it. But only the good bands. I’m not a big fan of the other cats, what are the other guys? The ones that make the same kind of music?
Mumford and Sons?
Zelick: Yeah, I’m not a big fan of Mumford and Sons.
Franky: Me either. I don’t know, I tried to like it, but I really can’t get into ‘em.
Zelick: I love The Avett Brothers because they’re amazing lyricists. And I love Hudson Taylor because they’re amazing lyricists. The two brothers, acoustic guitars, amazing harmonies/lyrics. Maybe they’d be surprised to hear that?
Mauricio: Jean Luc Ponte, this electric violinist. He is one of my favorites. He was one of my biggest influences when I was little. “Enigmatic Ocean” is my favorite album of his.
Zelick: You know who else I really love? Miranda Lambert. She’s f---ing great.
Mauricio: And Robert Palmer. I can add that. People are like ‘you love Robert Palmer?’ ‘I LOVE Robert Palmer’.
[Franky and Mauricio start singing “Bad Case of Loving You (Doctor Doctor”]
[Franky laughs]
[laughs] That always reminds me of that terrible commercial [for a credit score checking service that used “Bad Case” in its TV advertisements].
Franky [laughs]: Yeah, yeah.
What about you Phil?
Phil: I’d have to say Josh Groban, because he has a f---ing amazing voice. I actually watched him on TV for a benefit he did and I came to tears. His voice is amazing and the notes he hits and the way he sings just touches so many people. It’s very impressive to me how he can sing like that. Pavarotti and s—t like that, it just impresses me.
Anything else you guys want to add?
Phil [in what sounds like Seth McFarlane’s voice a la “Family Guy” or “Ted”]: 2+2 is 4.
[Someone continues the joke by saying “I added, I added” and “3+4 is 8” “No it’s not!”]
Franky: For the next month we’ll be in the studio. We’ll be locked down in the studio in writing mode.
Phil: New tracks, new music. We not only gotta match what we came out with already---
Zelick: We have to beat these other songs.
Phil: We have to kick these other songs in the ass and come out with some better stuff.
Zelick: We’re gonna record it and hold onto it until we’re ready. In September, we’re going to get out, start doing some regional touring in support of this first EP we’ve released [“Resurrection”, which you can find my review of here]. Maybe winter or the first of next year, we’ll release these last five songs we’re recording now. Because we can.
Well, that’s all my questions.
Franky: Thank you very much, it was fun.
