Interview with John Fontana of Shadow Circus

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2009 gives us the follow-up to Shadow Circus' debut album, Welcome To The Freakroom. Met by critical acclaim while creating a buzz in the progressive rock community, the band have experienced both peaks and valleys. One thing is abundantly clear, and that is Shadow Circus have emmerged from the Freakroom triumphantly and are prepared to blaze their own trail with Whispers and Screams. Soundbytes and album pre-order are available on their website. http://www.shadowcircusmusic.com/shop

Guitarist/keyboardist John Fontana was kind enough to grant Progarchives a one-on-one to discuss their debut, health concerns for their frontman and how it affected those closest to him, and the creation of their second album, Whispers And Screams.

Progarchives: Hi, John. Thank you for being gracious enough to grant

ProgArchives this interview.

John Fontana: I'm honored!

PA: Can you give us some details on what has transpired with Shadow Circus

since the release of Welcome To The Freakroom? I understand there are some

personnel changes within the band?

JF: Our original bassist, Matt Masek, joined the band when he was expecting

to move to the NY area from western Pennsylvania.
After we completed the

album and began rehearsing for live shows, those plans fell through, of

course he found it difficult to keep commuting all the way to NYC from

western Pennsylvania
for rehearsals each week - it was an expensive and

exhausting proposition to keep up in the long haul. Fortunately, he was able

to come in to record cello parts for three songs on Whispers and Screams, so

it's nice to still have him "in the family", so to speak.

As for our keyboardist, Zach Tenorio, we always knew that he would be very

busy with the Paul Green School of Rock, his own band, as well as his work

with Jon Anderson, and going off to attend Berklee in Boston. We expected

that talent like his, and at such a young age, would be in high demand.

PA: I also was pretty concerned about some health issues that your lead

vocalist, David Bobick, was forced to face. How is he doing?

JF: Dave had PKD (Polycystic Kidney Disease). As of last Spring, it became

apparent that he would need to either go on dialysis or have a kidney

transplant. His old friend John Kelly, who sang some background vocals on

our first album, stepped up as the donor, and he was a perfect match. On

September 11th, of all days, he had a successful transplant. Within a few

days of getting home from the hospital, he was writing lyrics and singing

his heart out! Within a few weeks, he was back in rehearsals, better than

ever. He's doing great now, probably healthier than he's been in a decade.

PA: So, I'm assuming John will be getting a huge 'thank you' in the album

credits?

JF: Yes, of course!

PA: Did you have any feelings that maybe he couldn't continue, or did you do

a 'Def Leppard' and stick by your mate?

JF: Honestly, I don't think it ever occurred to me that it might not go

well. I was very close to the situation, so I knew a lot about the process

and the expected outcome, which was always very promising. We rehearsed

right up until he went into surgery, and had the schedule for the production

of the CD in place, so we really just looked at it as a temporary

interruption. Dave insisted that we keep rehearsing during his recovery as

he didn't want any delays when he came back!

PA: To me, whenever I would contact you through ProgArchives, you never once

gave me an indication that David wouldn't be your singer.

JF: That makes sense - I don't think I ever even briefly considered it! He's

the voice and personality of Shadow Circus - if I ever have to work with

another front-man, it would not be called Shadow Circus.

PA: I know this had to have a tremendous effect on David, but how did it

affect you and the band as a whole? I can't imagine this is the same band

(psychologically) as it was a couple of years ago.

JF: Our friendships are long-standing, and we had so much history before

this that it was just taken as something to get through, a normal part of

life - something fairly serious, of course, but we had support from each

other and friends. If anything, we're all very grateful for the outcome, and

maybe it's strengthened our bond even more. So, I guess I don't feel it

changed us so much, but only because we were already such good friends.

PA: Did it make you feel more vulnerable, or did you come out the other side

a much stronger unit?

JF: It affirmed how strongly we had always felt - if anything, it may have

given us a sense of urgency, in terms of wanting to take advantage of this

window of opportunity of good health, which can't be taken for granted, and

do what we can to its fullest potential.

PA: Before we get into the new album, Whispers & Screams, what lessons did

you learn subsequent to Welcome To The Freakroom (both positive and

negative) that you wanted to take into the recording sessions for the new

album? In my previous discussions with you, this sounds like a vastly

different project.

JF: The first album was something that we really stumbled into by accident.

I had written these little pieces to use as demos to audition for other

bands as a guitarist or keyboardist, then Dave and Corey insisted that it be

turned into an album. So, it was funny in that the band formed around the

music rather than the other way around. Everyone recorded directly onto the

demos I created for the songs. For this reason, there wasn't a lot of input

from the other member as far as song structures, feel, tempo. Many of the

guitars and keyboards on that album were the original demo tracks I recorded

before we even had a band.

This time, I composed the music knowing it would be Shadow Circus material.

We played the songs together for almost a year before recording them, so

everyone had a say. Parts got changed around, things were sped up or slowed

down, improvisation led to some new ideas. This time, the music formed

around the band.

Left to right: Corey Folta, John Fontana, David Bobick and Jason Croft

PA: With that, tell me about the new album. Can you compare/contrast a bit

with the debut?

JF: The first album was very deliberately an homage to the prog rock greats

of the 70's. There was a very conscious effort to use specific equipment and

production techniques to pay tribute to that great era of music. There were

many times where we were tempted to pull in some ideas that were totally

different, but wanted to keep the vibe we had set out to do. It was a fun

challenge, as all of us had always been involved in projects that went for a

thoroughly modern approach, such as Corey's band Product, and my former

bands like Omnilingus and Persona Grata.

With Whispers and Screams, I think we set ourselves free to grow from that

sound we established on Freakroom. There are definitely some retro

production elements that we've come to love - you'll still hear plenty of

Hammond, Moog, and Mellotron. But the key change is in the songwriting and

performances. It's an incredibly emotional album, lyrically and musically.

There is a such a broad range of dynamics. Some parts are pretty and lovely,

like something from a dream - other parts really rock hard and hit you in

the forehead like an ice pick! Which is precisely what inspired us to name

it Whispers and Screams. Anyone who buys the album can feel comfortable that

the package contains precisely what is says!

Musically, it grows from where the last CD left off, with the Journey of

Everyman trilogy. It gets quite a bit more challenging and dark than that at

times, with fewer catchy moments like "Radio People". My goal when
composing

for this album was to be progressive - as in, what many prog fans refer to

as "truly progressive" - the music does push against the barriers of
what is

considered normal elements in rock - sometimes a little, sometimes a lot.

But I feel that even with experimentation, it should be an enjoyable

listening experience, and the music should always be soulful. To me, it

doesn't matter if something is groundbreaking unless it expresses something

that the listener can feel. And, above all, the genre is called progressive

rock. The word "rock" is there for a reason! Rock is meant to be a
soulful,

sexy and fun form of music. A lot of bands that try to experiment and

innovate forget that, or feel that those aspects are unessential. So, I

didn't want to entirely throw away the formulas of rock that I enjoy writing

with - there must be power chords, huge drums, lots of personality and fun,

over-the-top solos! The ending of an epic should give you an adrenalin rush

and send chills down your spine. I hope that that's what this record will

do.

PA: Uh oh.you mentioned the 'E' word. Are there any epics on Whispers &

Screams?

JF: Yes! We have a piece called "Project Blue", which is lyrically
inspired

by "The Stand" by Stephen King. That section of the album is about 34

minutes. There is also a shorter, 10-minute song called "Willoughby" (based

on the famous Twilight Zone episode), which I guess is more like a

mini-epic.

PA: And, if I may quote you, "The ending of an epic should give you
an

adrenalin rush and send chills down your spine." For me, Neal Morse can

compose a pretty killer epic, with endings that will just grab me by the

throat. Is there an artist/band from whom you pull inspiration?

JF: I'm a huge fan of Neal Morse's epics! He's a big source of inspiration.

Growing up I was inspired by Pink Floyd, The Who, Yes, ELP, Queen, and

Jethro Tull, so the idea of an epic tune, or suite of connected songs, is

very much ingrained in the way I imagine music. I also grew up with

classical music, which I listened to long before I got into rock and roll -

that is an important source for inspiration, as a lot of the kind of melodic

and conceptual development we've come to expect from progressive rock music

really has its heart in the classics - Beethoven, Mozart, Stravinsky,

Debussy, Ravel, Mussorgsky.

PA: Just curious, but who produced the new album?

JF: Our drummer, Corey Folta, and myself. I tend to design the sounds of the

guitars and keyboards, do the melodic arrangements, and Corey focuses on the

drums, bass, and engineers the mix. What's nice is that he's produced so

many things that have nothing to do with prog, so he brings a lot of fresh

new ideas.

PA: Any thoughts of using an outside producer? If so, who would you love to

work with?

JF: I would love to have the chance to work with any number of producers -

there are a lot of people out there who are not big names, but have

brilliant ideas. Of course, in my dreams maybe, Eddie Offord, Quincy Jones,

Alan Parsons.

PA: So, we have an overall feel of Whispers & Screams. What's next for the

band? When will the disc be released/available for pre-order and how?

JF: The disc is currently available for pre-order form our website, and

we'll start shipping them around November 1st.

PA: Any touring? Possibly going to Europe ... or Kansas City? I'll treat you to

BBQ that would have you weeping. <<laughs>>

JF: You know me too well, Eric, I will travel anywhere for a free dinner,

and you especially know my appreciation for Southern comfort food!

We expect to play shows in the Northeast U.S.
shortly following the release

this Fall, and we're looking forward to getting around to one of the

festivals next summer. We definitely have a goal to get to Europe,
but when

that opportunity will come to us, who knows.

PA: I brought this up when I interviewed Allan Reed of Pallas, but illegal

downloading is increasingly becoming worrisome to me. How has your band

weathered this particular storm? Can bands in such a niche market like prog

endure?

JF: The internet giveth and the internet taketh away. On one hand, the

internet has made the current prog renaissance possible - a decent band of

any genre can find a community of potential fans very easily. Also, the

technology has made it possible to produce and distribute professional

quality releases very inexpensively. Shadow Circus couldn't exist without

these advances. The trade-off is: The market is overloaded with artists.

People can't find the time to listen to everything that's out there. And,

there's really not much of a living to be made at it. Most bands are

delighted to recoup the cost of production, if they can even do that. Bigger

bands keep making living off of touring, but there is a lack of venues for

bands just starting out.

So, I think that the mp3 phenomenon is a permanent factor - it comes

hand-in-hand with our ability to even do this, so we have to accept it and

move on. What I believe is far more damaging to upcoming bands is the lack

of a robust live scene to play in. That is how known bands make up for the

loss of income due to mp3's, but there's not much in the way of live venues

for newer bands. We do intend to seek them out and play out as much as

possible, of course, and we'll have to work very hard to make it happen.

Hopefully more promoters will pick up on this and some good bands will come

along to promote more of an interest in original live music.

PA: In closing, what is your mission statement for this band? Where do you

see Shadow Circus in 5-10 years?

JF: Well, continuing from my statement about developing a live scene, one of

our greatest interests has always been in developing a live show that will

be truly memorable. I believe that one of the reasons there is less interest

in live music, is that few bands bother to present themselves creatively.

Whether fans admit it or not, people do experience music with all their

senses. The same applies to food! You don't want to take a beautiful filet

mignon and put it on a piece of white bread, do you? By the same token, why

take something as majestic as progressive rock and stick it up under boring

white lights wearing a t-shirt and jeans?

So, we'd like to get out there, get on stage, and give people a show they

will keep talking about and want to see again and again. We want to keep

making the best music we can, keep challenging ourselves, and hope that

people will notice.

PA: John, it's pretty cool to be a fan and to get to ask you questions like

this. I really appreciate it.

JF: Thank you for this interview,  it's always a pleasure talking with
you,

Eric.

Edited by E-Dub - October 08 2009 at 10:17

Author	Message Topic Search Topic Options Post Reply Create New Topic Printable Version Translate Topic
E-Dub Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: February 24 2006 Location: Elkhorn, WI Status: Offline Points: 7910	Topic: Interview with John Fontana of Shadow Circus Posted: October 07 2009 at 20:12
	2009 gives us the follow-up to Shadow Circus' debut album, Welcome To The Freakroom. Met by critical acclaim while creating a buzz in the progressive rock community, the band have experienced both peaks and valleys. One thing is abundantly clear, and that is Shadow Circus have emmerged from the Freakroom triumphantly and are prepared to blaze their own trail with Whispers and Screams. Soundbytes and album pre-order are available on their website. http://www.shadowcircusmusic.com/shop Guitarist/keyboardist John Fontana was kind enough to grant Progarchives a one-on-one to discuss their debut, health concerns for their frontman and how it affected those closest to him, and the creation of their second album, Whispers And Screams. Progarchives: Hi, John. Thank you for being gracious enough to grant ProgArchives this interview. John Fontana: I'm honored! PA: Can you give us some details on what has transpired with Shadow Circus since the release of Welcome To The Freakroom? I understand there are some personnel changes within the band? JF: Our original bassist, Matt Masek, joined the band when he was expecting to move to the NY area from western Pennsylvania. After we completed the album and began rehearsing for live shows, those plans fell through, of course he found it difficult to keep commuting all the way to NYC from western Pennsylvania for rehearsals each week - it was an expensive and exhausting proposition to keep up in the long haul. Fortunately, he was able to come in to record cello parts for three songs on Whispers and Screams, so it's nice to still have him "in the family", so to speak. As for our keyboardist, Zach Tenorio, we always knew that he would be very busy with the Paul Green School of Rock, his own band, as well as his work with Jon Anderson, and going off to attend Berklee in Boston. We expected that talent like his, and at such a young age, would be in high demand. PA: I also was pretty concerned about some health issues that your lead vocalist, David Bobick, was forced to face. How is he doing? JF: Dave had PKD (Polycystic Kidney Disease). As of last Spring, it became apparent that he would need to either go on dialysis or have a kidney transplant. His old friend John Kelly, who sang some background vocals on our first album, stepped up as the donor, and he was a perfect match. On September 11th, of all days, he had a successful transplant. Within a few days of getting home from the hospital, he was writing lyrics and singing his heart out! Within a few weeks, he was back in rehearsals, better than ever. He's doing great now, probably healthier than he's been in a decade. PA: So, I'm assuming John will be getting a huge 'thank you' in the album credits? JF: Yes, of course! PA: Did you have any feelings that maybe he couldn't continue, or did you do a 'Def Leppard' and stick by your mate? JF: Honestly, I don't think it ever occurred to me that it might not go well. I was very close to the situation, so I knew a lot about the process and the expected outcome, which was always very promising. We rehearsed right up until he went into surgery, and had the schedule for the production of the CD in place, so we really just looked at it as a temporary interruption. Dave insisted that we keep rehearsing during his recovery as he didn't want any delays when he came back! PA: To me, whenever I would contact you through ProgArchives, you never once gave me an indication that David wouldn't be your singer. JF: That makes sense - I don't think I ever even briefly considered it! He's the voice and personality of Shadow Circus - if I ever have to work with another front-man, it would not be called Shadow Circus. PA: I know this had to have a tremendous effect on David, but how did it affect you and the band as a whole? I can't imagine this is the same band (psychologically) as it was a couple of years ago. JF: Our friendships are long-standing, and we had so much history before this that it was just taken as something to get through, a normal part of life - something fairly serious, of course, but we had support from each other and friends. If anything, we're all very grateful for the outcome, and maybe it's strengthened our bond even more. So, I guess I don't feel it changed us so much, but only because we were already such good friends. PA: Did it make you feel more vulnerable, or did you come out the other side a much stronger unit? JF: It affirmed how strongly we had always felt - if anything, it may have given us a sense of urgency, in terms of wanting to take advantage of this window of opportunity of good health, which can't be taken for granted, and do what we can to its fullest potential. PA: Before we get into the new album, Whispers & Screams, what lessons did you learn subsequent to Welcome To The Freakroom (both positive and negative) that you wanted to take into the recording sessions for the new album? In my previous discussions with you, this sounds like a vastly different project. JF: The first album was something that we really stumbled into by accident. I had written these little pieces to use as demos to audition for other bands as a guitarist or keyboardist, then Dave and Corey insisted that it be turned into an album. So, it was funny in that the band formed around the music rather than the other way around. Everyone recorded directly onto the demos I created for the songs. For this reason, there wasn't a lot of input from the other member as far as song structures, feel, tempo. Many of the guitars and keyboards on that album were the original demo tracks I recorded before we even had a band. This time, I composed the music knowing it would be Shadow Circus material. We played the songs together for almost a year before recording them, so everyone had a say. Parts got changed around, things were sped up or slowed down, improvisation led to some new ideas. This time, the music formed around the band. Left to right: Corey Folta, John Fontana, David Bobick and Jason Croft PA: With that, tell me about the new album. Can you compare/contrast a bit with the debut? JF: The first album was very deliberately an homage to the prog rock greats of the 70's. There was a very conscious effort to use specific equipment and production techniques to pay tribute to that great era of music. There were many times where we were tempted to pull in some ideas that were totally different, but wanted to keep the vibe we had set out to do. It was a fun challenge, as all of us had always been involved in projects that went for a thoroughly modern approach, such as Corey's band Product, and my former bands like Omnilingus and Persona Grata. With Whispers and Screams, I think we set ourselves free to grow from that sound we established on Freakroom. There are definitely some retro production elements that we've come to love - you'll still hear plenty of Hammond, Moog, and Mellotron. But the key change is in the songwriting and performances. It's an incredibly emotional album, lyrically and musically. There is a such a broad range of dynamics. Some parts are pretty and lovely, like something from a dream - other parts really rock hard and hit you in the forehead like an ice pick! Which is precisely what inspired us to name it Whispers and Screams. Anyone who buys the album can feel comfortable that the package contains precisely what is says! Musically, it grows from where the last CD left off, with the Journey of Everyman trilogy. It gets quite a bit more challenging and dark than that at times, with fewer catchy moments like "Radio People". My goal when composing for this album was to be progressive - as in, what many prog fans refer to as "truly progressive" - the music does push against the barriers of what is considered normal elements in rock - sometimes a little, sometimes a lot. But I feel that even with experimentation, it should be an enjoyable listening experience, and the music should always be soulful. To me, it doesn't matter if something is groundbreaking unless it expresses something that the listener can feel. And, above all, the genre is called progressive rock. The word "rock" is there for a reason! Rock is meant to be a soulful, sexy and fun form of music. A lot of bands that try to experiment and innovate forget that, or feel that those aspects are unessential. So, I didn't want to entirely throw away the formulas of rock that I enjoy writing with - there must be power chords, huge drums, lots of personality and fun, over-the-top solos! The ending of an epic should give you an adrenalin rush and send chills down your spine. I hope that that's what this record will do. PA: Uh oh.you mentioned the 'E' word. Are there any epics on Whispers & Screams? JF: Yes! We have a piece called "Project Blue", which is lyrically inspired by "The Stand" by Stephen King. That section of the album is about 34 minutes. There is also a shorter, 10-minute song called "Willoughby" (based on the famous Twilight Zone episode), which I guess is more like a mini-epic. PA: And, if I may quote you, "The ending of an epic should give you an adrenalin rush and send chills down your spine." For me, Neal Morse can compose a pretty killer epic, with endings that will just grab me by the throat. Is there an artist/band from whom you pull inspiration? JF: I'm a huge fan of Neal Morse's epics! He's a big source of inspiration. Growing up I was inspired by Pink Floyd, The Who, Yes, ELP, Queen, and Jethro Tull, so the idea of an epic tune, or suite of connected songs, is very much ingrained in the way I imagine music. I also grew up with classical music, which I listened to long before I got into rock and roll - that is an important source for inspiration, as a lot of the kind of melodic and conceptual development we've come to expect from progressive rock music really has its heart in the classics - Beethoven, Mozart, Stravinsky, Debussy, Ravel, Mussorgsky. PA: Just curious, but who produced the new album? JF: Our drummer, Corey Folta, and myself. I tend to design the sounds of the guitars and keyboards, do the melodic arrangements, and Corey focuses on the drums, bass, and engineers the mix. What's nice is that he's produced so many things that have nothing to do with prog, so he brings a lot of fresh new ideas. PA: Any thoughts of using an outside producer? If so, who would you love to work with? JF: I would love to have the chance to work with any number of producers - there are a lot of people out there who are not big names, but have brilliant ideas. Of course, in my dreams maybe, Eddie Offord, Quincy Jones, Alan Parsons. PA: So, we have an overall feel of Whispers & Screams. What's next for the band? When will the disc be released/available for pre-order and how? JF: The disc is currently available for pre-order form our website, and we'll start shipping them around November 1st. PA: Any touring? Possibly going to Europe ... or Kansas City? I'll treat you to BBQ that would have you weeping. <<laughs>> JF: You know me too well, Eric, I will travel anywhere for a free dinner, and you especially know my appreciation for Southern comfort food! We expect to play shows in the Northeast U.S. shortly following the release this Fall, and we're looking forward to getting around to one of the festivals next summer. We definitely have a goal to get to Europe, but when that opportunity will come to us, who knows. PA: I brought this up when I interviewed Allan Reed of Pallas, but illegal downloading is increasingly becoming worrisome to me. How has your band weathered this particular storm? Can bands in such a niche market like prog endure? JF: The internet giveth and the internet taketh away. On one hand, the internet has made the current prog renaissance possible - a decent band of any genre can find a community of potential fans very easily. Also, the technology has made it possible to produce and distribute professional quality releases very inexpensively. Shadow Circus couldn't exist without these advances. The trade-off is: The market is overloaded with artists. People can't find the time to listen to everything that's out there. And, there's really not much of a living to be made at it. Most bands are delighted to recoup the cost of production, if they can even do that. Bigger bands keep making living off of touring, but there is a lack of venues for bands just starting out. So, I think that the mp3 phenomenon is a permanent factor - it comes hand-in-hand with our ability to even do this, so we have to accept it and move on. What I believe is far more damaging to upcoming bands is the lack of a robust live scene to play in. That is how known bands make up for the loss of income due to mp3's, but there's not much in the way of live venues for newer bands. We do intend to seek them out and play out as much as possible, of course, and we'll have to work very hard to make it happen. Hopefully more promoters will pick up on this and some good bands will come along to promote more of an interest in original live music. PA: In closing, what is your mission statement for this band? Where do you see Shadow Circus in 5-10 years? JF: Well, continuing from my statement about developing a live scene, one of our greatest interests has always been in developing a live show that will be truly memorable. I believe that one of the reasons there is less interest in live music, is that few bands bother to present themselves creatively. Whether fans admit it or not, people do experience music with all their senses. The same applies to food! You don't want to take a beautiful filet mignon and put it on a piece of white bread, do you? By the same token, why take something as majestic as progressive rock and stick it up under boring white lights wearing a t-shirt and jeans? So, we'd like to get out there, get on stage, and give people a show they will keep talking about and want to see again and again. We want to keep making the best music we can, keep challenging ourselves, and hope that people will notice. PA: John, it's pretty cool to be a fan and to get to ask you questions like this. I really appreciate it. JF: Thank you for this interview, it's always a pleasure talking with you, Eric. Edited by E-Dub - October 08 2009 at 10:17


The Quiet One Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Prog Reviewer Joined: January 16 2008 Location: Argentina Status: Offline Points: 15745	Posted: October 07 2009 at 20:17
	Excellent interview, Eric, great work and thanks for sharing! Edited by The Quiet One - October 07 2009 at 20:17

avestin Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: September 18 2005 Status: Offline Points: 12625	Posted: October 07 2009 at 20:29
	Great interview, Eric and thanks John for the time to answer the questions.
	Hanging Sounds PA Index of prog music vendors

debrewguy Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: April 30 2007 Location: Canada Status: Offline Points: 3596	Posted: October 08 2009 at 19:42
	kudos to another musician dedicated to the working hard for his fans
	"Here I am talking to some of the smartest people in the world and I didn't even notice,” Lieutenant Columbo, episode The Bye-Bye Sky-High I.Q. Murder Case.

E-Dub Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: February 24 2006 Location: Elkhorn, WI Status: Offline Points: 7910	Posted: October 08 2009 at 20:13
	If you guys liked Welcome To The Freakroom, then this one will blow your socks off. From what I've heard, it's incredible stuff. E


3RDegree Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: March 31 2007 Location: United States Status: Offline Points: 129	Posted: October 20 2009 at 06:31
	Great interview! We (3RDegree) are only a few towns away from these guys. I'd agree with all the points he made above about the live scene (lack thereof) and other insights above.
	www.3RDegreeONLINE.com www.facebook.com/3RDegree "Defiling Perfectly Good Songs With Prog Since 1990"