My Mom's Basement - EPISODE 497 - THE MAINE STRIKES BACK

Episode Date: April 23, 2026

The Maine make their THIRD appearance in the Basement to discuss their newest album: 'Joy Next Door'! Robbie asks them about their relationship to this album, the mature themes its written about, their favorite movies, and more! #TheMaine **************************************** My Mom's Basement is a weekly podcast hosted by Robbie Fox, started in March 2019, to discuss movies, music, comic books, wrestling, mixed martial arts, and more with his friends and idols alike! Subscribe on iTunes: https://podcasts.apple.com/us/podcast/my-moms-basement/id1457255205 Follow Robbie on Instagram: https://www.instagram.com/thatrobbiefox Follow Robbie on Twitter: https://twitter.com/RobbieBarstool My Mom's Basement Merchandise: https://store.barstoolsports.com/collections/my-moms-basementYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/mymomsbasement

Hey, My Mom's Basement listeners, you can find our episodes on Apple Podcasts, Spotify, or YouTube, and Prime members can listen ad-free on Amazon Music. All right, hello and welcome back to My Mom's Basement, and another interview with the main. I am honored to have you guys in here for a third time. It's actually our second time in person. We did one via Zoom. You guys, as I tell you, every time, are one of my favorite bands in the world. So I don't take it for granted that you guys are coming in giving me the time to talk about these new albums.

Dude, thanks for me. Thank you. Of course, and I'm excited to talk about Joy Next Door. Absolutely. But before we get into that, our last interview was promoting the self-titled record. I wanted to just start there and ask what your favorite memories or biggest moments from that era of the band were now that it's kind of put to bed. Man. That was a fun cycle for sure.

When we do our festival in Phoenix, it's always kind of like the big highlight and we played the whole record in full. So it was fun to kind of, you don't really know how it's going to work together live until you do all the big highlight. all of it like that so it was like an interesting thing and we've only played some of those songs once at that thing but that was kind of a big highlight for sure to like play in front of all of all the yeah we also got to work with Colby Wedgworth again so it was great to just kind of jump back into the studio with him it felt it's kind of the same way as like thinking back it wasn't that long ago that we were recording that record but it feels like ages ago somehow but with Colby it was the same way it

like we hadn't seen him in a while and just like the personality nuance and like the things like the things that you remember seeing him do on lovely little lonely where he'd be like it's so excited yeah that kind of mannerisms arm movements like those are the things that stand out in my head yeah he do these things that like you know when we have the part right is when like because we'll kind of just chill there and then all of a sudden he'll just get like really animated and excited and you're like okay that part's gonna work it's like a poker player's tell yeah for sure we're all just literally watching waiting for the town like shake a little you're like okay we got it yeah and has this tour been going i know you kicked

it off at the salt shed awesome iconic venue obviously i had an uncle actually go see you guys in Vegas he told me it was one of his favorite shows he's ever been to really yeah so that's the The first show of the tour. That one was like a... It's an honor. We were pretty nervous. Yeah, we were that one. Wow.

We are a band for the uncles. Yeah. Uncle band. It's a cool uncle. Uncle's love us. You know. What up, Bong.

No, it's been awesome. I know, somehow, after all this time, it's our biggest tour we've ever had. And the shows have been insane. Like, you know, our crowds are generally like a little more tame compared to more like, you know, some of the pop, punk fans who toured with or something because we're kind of in between

a bunch of different worlds but like the past week our shows have been crazy we said it last night we were in the dressing room in DC and he said that might have been the craziest string of three in a row

that we've had we would ever just crazy crowds are crazy DC and just something in the water or so I don't know there were people like crowd surfing to like mid-tempo like you're playing taxi

and people just coming up over the barricade open the pit wild it's been wild prefaced it by saying this is an acoustic version of taxi and then it was just like crowd steady stream it's so awesome it's fitting because on our last interview you talked about opening that album like

blind corn yeah yeah we did play that It worked. That song actually is going, it might be the hardest song in the set. Blind? As far as, yeah, yeah.

Are you? Dose has been kind of psycho. We didn't start with, start playing it until a couple of shows in. San Francisco, we played a few years. But I think that's what, you know,

we talked about it the other day, but it's like, you know, you put a new record out and just by the feeling of, things like it takes some time right to like really get into the the fibers of everyone's being and i think it honestly it's like a two-year delay yeah yeah like now all the self-titled songs like

the craziest ones in the set and like on the tours for that album it was like they were good but not like a highlight and now are the rain people have a chance to like let them settle into their their world so i love this album i love the consistency of this album and I remember talking about self-titled you were talking about how like the guitar tones and the drum sounds you wanted a more consistent sound throughout as opposed to like xo xo where it was whatever served the song did you go with the same mindset into this record I think we always talk about it and then we end up going in different directions and like sometimes the results are what we wanted and sometimes we take it in different I think on this one we were just more hard-headed about

consistency of song choice and like the arrangements of the songs themselves like we do a lot of talking prior to recording and then inevitably a song makes its way in that doesn't necessarily fit with the other tunes and this one was different because we had laid out the roadmap prior to even recording the whole thing so we knew what songs we were going to do in what order they were going to kind of go in where that's not usually the case on other records it's usually you know you have some idea and then no matter what inevitably a song comes out of nowhere and it like kind of messes up the flow yeah not in a bad way but just in a in a way that you weren't planning on um and this one was more we were just more diligent about like we want it to be consistent

We want the drums to sound the exact same. And we did that on self-titled, but I think with this, we just stripped a lot of the polish away. And we were very adamant that it needed to be loose and just a little more free than we had done in the past. What inspired the sequential recording?

I think, honestly, it was just having done it nine times. Like, we always set out to try to make, maybe make it harder on ourselves, right? Like, and it might sound counterintuitive, but I think for us, it challenges us, and it makes us hyper-focus on what we're doing in the moment. I think it can be very easy to kind of make things formulaic and just feel like, all right,

we know how to get to the finish line. It shouldn't be so hard. And I think maybe putting some obstacles or parameters on the thing, in its entirety helps us stay like very vigilant, hyper-focused the entire way through the record. Yeah, I think it's also like a little bit of a, like, reaction to how music is made now

where it's like a lot of bands, you know, you're going to meet a producer that day and you write and record a song in like a five-hour period and then you do the same thing the next day with a different person and you do that like 20 times over. and then you pick 10 you like. And it's like, it's kind of our way to like, we're making an album.

Like we're not thinking about what's the single before the album's done or, you know, that. So I think it just helped make that, like how our headspace was. Yeah. And I saw an interview with you, Garrett, where you were talking about the recording process and how it was kind of like six months broken up.

You know, you'd go on tour, come back. But this one was, I believe, the first main record recorded at home where it wasn't like, let's pick a location, let's find an Airbnb. What was that like? Would you do that again? Yeah, so this was the first one that full process, like we did pre-pro in Phoenix, which we haven't done in a really long time. I don't know if we've ever even done that. And so, yeah, normally we'll at least go to somewhere for pre-production, stay in a house, like get in the nitty-gritty there. But then, yeah, this one we were just like home in, like, you were able to go see the kids at night. So it was like it took a second to get into it that way.

But it's a little bit of a different like mindset too because you have sort of like start time and an end time to your day. Whereas like when we used to go get lost and like Joshua Tree, it's like it's just always on. You're just, it could be midnight, it could be two in the morning and you're just like there's an idea you're going. And so kind of thinking about things more in terms of like what can we get accomplished within this like window of stuff. But I mean, we'll go late too. It's like just depends on how we're working. But the comforts of home were kind of nice to have. Yeah.

And just breaking in our studio. Yeah. Like actually feeling comfortable in our own zone with all of our own gear. All of our stuff is there. Yeah. So it was just a, yeah, that part of it, I think was very helpful for the process. Is it harder to get into like an album mindset like that or no? It just got dragged out.

Yeah. I think we learned that we probably operate better on deadlines, but we had never given ourselves the shot of just like, hey, let's not put a timestamp on it. Let's let it breathe and evolve naturally. But I think moving forward, we probably need that time constraint. At least you can say, hey, it needs to be done by this date. Well, it's just so easy to pull stuff apart and put it back together.

and like you just want to do that a lot because you want everything to be perfect but sometimes it's just like and there were yeah there were songs where I like on palms I think I had four different goes out of like tearing it apart

different versions or just different takes different versions different drum grooves different I think I recorded the bass for that five different times and I think we we've been really lucky like you know with Colby and then Sean Silverman who did this one

And we've been lucky that we've worked with people that are willing to, like, withstand maybe some of the chaos that I can bring and kind of help me get out of my own way, but also allow that space to kind of operate and maybe be manic, you know. Yeah, was Palm the hardest one to get right? That was the hardest for me. Yeah, yeah. Wow. It was the last song that we brought to the table right before the start of pre-production.

And that one was just, yeah, it was a hard nut to crack. Well, I think, yeah, I think you had maybe a different idea of what it was. For sure. And then you sent an original demo and it was kind of like touching where it went. And then you sent another one that's more in line of what the version is on the record. And I think kind of you wanted that first version more. So we were fucking battling that. No, dude.

Like, this is the way. And the hard part is I think I sent one version out. It was literally just like a drum machine, an acoustic, and then like a vocode or vocal thing. And then I remember sending it. And then immediately I was like, fuck, I wanted to do something else. And so then I was like, hey, listen to this, but don't listen to this. Here's another version. And then, oh, my gosh.

Don't listen to that. I have another version. Then your note tap, you have like six versions. Yeah, which one is you, okay. Yeah. But it's kind of fun. It's kind of fun to like stretch it out and see how many different ways you can envision like, you know, one song. It's a whole hell of a lot more fun now.

Yeah. I say it's tough for me because I can just tell you guys you nailed it. I love it. And there's also like a cinematic quality to this album. And I know you guys have talked about that as well. Do you ever get inspired directly for music from TV or movies? Like, are you ever watching a movie and you're like, I could write a song about that? Oh, I mean, 100%.

Not even, not just like I could write a song about this film, but just more like... Just a feeling? Yeah, like, yeah, it's more mood-based, I feel like, like, oh, this, we were listening. We got breakfast yesterday and we heard that Harry Style song. Sign of the Times. Yeah, great song. And he was like, yeah, this is just... sounds like it needs to be in a movie.

It just feels that way, yeah. Did you guys know it's, it's like very famously in a movie right now? That's what he said. You nailed it if you didn't know that. No. Yeah, I, uh, so definitely it wasn't, we didn't go into this record thinking like, oh, let's, let's kind of write the soundtrack to a movie, but we definitely used kind of the framework of the prototypical kind of storyline of film.

Yeah, we kind of arched. it out whereas like like I talked about it a couple times but like the climactic part in the movie isn't the end where like normally on a record we'd be like another night on Mars is like kind of like the big moment at the end to kind of wrap it all up where like it's not over yet is kind of that yeah and and then is like the like almost credits of of the record in a way so we did talk about it a little bit but it was not like exactly like written out that way yeah and then was like a jaw-dropping song to listen to it for the first time. I swear I listened to it and then immediately went and listened again and again.

My fiance, her immediate response was that's getting added to the wedding place. It was just like it hit in such a cool, nostalgic way. It felt like it had that warmth about it right away. Yeah. Thank you. I mean, that's the one that didn't change much of all. We heard the demo. Yeah, we're like, if we do anything to this, we'll fuck it up.

Yeah. Yeah. Yeah. Awesome song. Absolutely awesome. Thank you. What are the Maine's favorite movies? Speaking of movies, I want to go down the line here.

And you don't have to name, if you have a favorite movie, that's what I want to know. But if you've got a couple, you can name a couple. That thing you do is what inspired me to, like, play the drums. And, like, that's the reason I convince my parents to give me a drum set. I love that. One of my favorites. It's a movie that not everyone in my band has seen. And I'm like, you're not supposed to be in a band if you haven't seen that.

Yeah, yeah. It is, that one, I know that one like to back my hand. Yeah, I mean, the scene where they hear themselves on the radio for the first time is one of the best scenes in any movie. I'm going to go with, because I saw this movie when I was nine, and it was probably too crazy. The first Matrix blew my mind. Hell yeah. I was like, what is this? Like, it's so crazy.

I was Neo for Halloween when I was six. There you go. Nobody in my first grade class knew who I was, but the teacher did. Yeah. I was like, yeah, that's cool. I'm not really a film buff, but there are quite a few movies. Like, if they're on, I have to leave them on. Pulp Fiction and Big Lobowski.

For some reason, it's always, like, it's always on on the bus, too, one of them, no matter what. So it's always, like, can't change it. Yeah, tremendous. Thanks. I mean, we were just talking about how that Harry Style song is in, is in the new movie, Project Hell Mary. I loved that book, love that movie, but the Martian is like, I love that movie. We'll go back to that movie. I'm with you.

That's a comfort watch for me. Exactly, yep. I'm going to go chaotic. We were on the bus the other day. You're going to say a racerhead, aren't you? I'm going to say McGruber is the fun of the movie. Yes, yes, yes, yes, yes, yes, yes, yes. I've seen it 25 times.

Dude, we watched it two times the other day. Yeah, the other day, dude, speaking of movies, I can't. Wow. Yeah, oh, fuck. Yeah, that's a good one. That's our answer. Yeah. We'll pick.

Great answers. Honestly, I respect every single one of those answers. I love all. Good call. So where did you find, like, the sound of this record? When we talked self-titled, it was like a fuzzy guitar that was a Pro Tools plug-in, I remember. Was there anything like that for this record? There were a couple elements tone-wise.

I feel like Sean's... Piano acoustic guitar as well. Those two things kind of like set the path. Yeah, I actually, I would say. maybe the rubber bridge guitar the acoustic that kind of that and the piano kind of made their way into every song yeah no matter what yeah and Sean had this like older silver tone that just doesn't want to stay in tune but sounds awesome yeah and so I think kind of the combination of all those things happening kind of just led to it feeling a little bit more human yeah so I don't know yeah

it was kind of a cool combo like one thing by itself not necessarily yeah but then everything together And the humble brag is that the drum that is on that album, snare is the same drum that Jimmy World recorded features on. Get the fuck out of here. They let us borrow a bunch of gear. The Zachland Stancher. Yeah, he gave me like nine different drums or something to use. And like, hey, here's how I use them.

And this is the Bleed American Tom. This is the way this one sounds with us. It's like a super drum kit of albums that it's been played on. He is like a drum wizard. I've had him on the show before and just hear him talk music. He's like dialed into that in a way that I haven't seen anybody ever. And the cool thing from an outsider perspective, because I'm not really a drum guy. But when you have so many options, it's easy for us to be like, let's do all.

of them and let's do a different one for each song and he was really Pat was really great about staying consistent we used the same thing throughout the record which I think helps add to that consistency yeah and even speaking about how just everything little things came together I feel like that's how the record starts like with just acoustic vocals and the buildup to everything joining that feels cinematic I feel like listening to that song I could picture each one of you guys walking up on stage and joining the song and it just eventually exploding into what it is, I feel like that really came through in the music. Yeah, thank you.

That was the goal. Yeah. Yeah. So when it comes to influences or references on the album sonically, do you have any new ones on this record that you hadn't mixed into Maine music before? I mean, it wasn't until I did a trip to Nashville and worked on It's Not Over Yet. That was the song that I felt like was like the catalyst to helping shape the sound of the rest of the record.

I mean, we, we, like, we referenced a lot of different things. A lot of things that normally we wouldn't have, like, rogue wave and broken social scene and LCD and stuff that maybe we were, I mean, already into. We were already very passionately into, but maybe too afraid to try their coats on, you know. Well, I think that's where Sean helped a lot. For sure. He is, he's just so good with getting sounds and all of that. So like these are, yeah, I think these are ideas that we've wanted to do for a long time, but it's like how to quite get there.

The fear of how to get there. Yeah. And it's like to keep it nasty and raw in that way is like you want to fix it. But like as soon as everything starts like this little piece and this little piece. And if it's all just a little bit like off, but together it just sounds off. Like if you listen to the stems, the sound of the guitar parts are like, what the fuck? Don't do that. It's a combination of all parts for sure.

Together, you're just like, okay. And like his ability to see that through and led us or guide us to be able to do that was like such a big win for us. Yeah, like having somebody kind of grab your hand and show you how to we like trust me. Yeah. That was that was something that helps tremendously. Because I think we do get very self-conscious about like, I don't know if we can do it. Like, I don't know how we would begin. I don't know how we would get there.

And having him be like, yo, relax. See it through. I know how to get that sound you're looking for. I'd be like, we're moving on. I'd be like, yeah, we got it. We're good. We're moving on. I mean, the bass part and in and then he was like, do a pass where you just overplay.

And then like halfway through the song, it starts to become that pass of the bass. And I was just like, we kept that one? Like, I'm like, kind of just loosely playing. There's some sick baselines on this record as a bass player. I would have never done that. And he was like, just start playing more. And I was like, okay. And I was like, I think this note works.

Yeah, I love that. I love the baseline on Dada Fall. I love the baseline, like, across it. I feel like you're going up a lot, which I love, like, the little slides up and everything like that. Yeah, I mean, it's always a group project when bass comes along. It's like, everyone kind of has an idea of what it's supposed to be. And I'm like, what is it? Yeah.

He's just looking around the room. And like, we're like, we're like, all with it. guitar's like, no, it's this. What the fuck are you doing? But it definitely took some getting used to where it was like, Sean would be like, all right, that's done. And you'd be like, no, no. Yeah, so many times.

Are you sure? Like, I don't know. Guys? It even kind of felt like that until we were done mixing stuff. For sure. It took like until feeling it all together with the right levels, the right space for things. Like it really like all of a sudden it was like, oh, that's what we met all along. Yeah.

It's funny what you said about the stems. The other day I revisited the bass track from Helter Skelter. You ever heard that isolated? Dude, it's crazy sounding. It's one of the worst sounding things you've ever heard. The tone is horrible. The playing is ridiculous. People don't even know if it was John or Paul that played it.

You throw it in the song and you're like, yeah, that's perfect. That's heavy metal right there. It sounds crazy. Yeah, that I've listened. It's crazy. When did the green aesthetic come into play here? That actually kind of came together early. Kind of even before.

the songs were completed. And I think, like, several of us had the idea of green in our heads without knowing, like, what everybody else was thinking. And that's, like, a funny thing. It's one of those things that people think that we've had this, like, master plan to, like, color code each record. And it wasn't until American Candy when we started kind of wearing matching outfits that that really came about.

And then we kind of applied it to the earlier ones. And we were like, oh, yeah, we meant to do that. We meant to do that. Do you feel more pressure, like, about that? I feel like people pay attention to it more with the main than most other bands, like the eras. I mean, I think Pat always says it's like a great opportunity to kind of, you know, timestamp it for people, like a yearbook or something, you know, where people can look back, hopefully, and go, oh, I remember going to the show.

I was in green sequins or I was in, you know, red whatever. And I think that's a, I don't know, it is, it's a, it's a helpful tool to be able to, even for ourselves to be like, yeah, what were we thinking? Oh, yeah, the black and wood area. Yeah. So. So subtly it shapes, yeah, this is the feeling of things too. Like, especially like with this one where, like he was saying, where we kind of had it in

advance. Like we were kind of going with that color scheme. Like it, I think it, yeah, it helps. I mean, Pat said this a few times in different ways, but like it, it, it felt like the organic part of the album was really, like, projected in that already before we even got going. Was the cover process as quick as it was for self-titled, or it was just someone took a picture,

and you were like, that's the look we're going for? Well, it ended up being that way, but like self-titles all of them, to get to that point to decide to take the simple picture, took a ton of different ideas that wound up being kind of the original thing. Yeah. There was a, yeah, a completely different cover at one point that we shot one day.

And then it was like, that's not it. And then Lupe found the right picture. And this album, the themes of it, about growing up, yearning for nostalgia, you described it as not being a breakdown or a crisis, but the moments in between. When did that hit you as this is what I want to write the next main album about? Was that in the process, or did you go into it already knowing what the themes were going to be? I think because Pat had framed it like, you know, when talking about the record, it was like, what can we do that, you know, what's some ground that we haven't covered yet?

And we talked about kind of a concept album, and I was really weary of doing like a full concept album just because my fear was it would get to storyteller, like, it would be a story. like it would get too embellished. And I just felt like I'd been doing so much writing about everybody else but myself in the last couple years that I just felt like I was going through these really big emotions and feeling these strong feelings and having no way of kind of communicating that. So that was like, yeah, I think before, definitely before, Before I started penning all the lyrics, I kind of had it sorted out that that was kind of what I wanted to talk about.

And I had already had like big bullet points for the way the arc needed to flow. And that was very helpful as far as, you know, the content of each song. It definitely, there were challenges. It didn't make it like as easy as I thought it would. Yeah. Because then I just got too focused on maybe the minimum. new show of things when it was hard to have a perspective of the whole thing. But I was, I was glad that I did it that way. Again, it's all a learning process. And I think we've been so

fortunate to have 10 goes at this thing. So hopefully, I mean, you won't stop. Yeah, yeah. I mean, hopefully, you know, for people, they can understand at the bare minimum just how important it still is to us. Just the idea of getting together, making music, making full bodies of work, not just like individual songs. Because we still love it. And we're very, very passionate about it.

So, yeah. Did it feel more daunting or therapeutic to go a little more personal on this one? I think both. I think the struggle in trying to articulate was probably helpful, you know. Yeah. There were things that then I got to talk to my wife about that I probably wouldn't have had the courage to say or, you know, wouldn't have ever brought it up.

So, yeah, I think there were therapeutic aspects to it. But again, just like wanting to try new perspectives, I think there's like always like this idea that it's like, so how is this different? It's like, it's not different. It's still us. It's us. It's us at 37, 38 instead of 1920, you know. So, and I think that was like a really big point of emphasis is wanting to sound like our ages, but also be as enthusiastically excited, you know, as we all are and showcase that. Yeah.

Do any of these songs go back years on the album, like in the writing process? 3-3-1's old. I love the sound of that. So what a happy sound 3-3-1 has behind it. Why 3-3-1? I mean, that was just like a play on, specifically I remember being in Germany years ago. And it was, I forget what age we were. We were definitely in our 30s.

and we got to the hotel and I think everybody had like not even a twin bed. It was like a little cot and there might have been four of us to each room. And I remember Jared and I were in the same room and the air conditioning wasn't working. And there was a heat wave in Germany. And I remember us just being like, look at how glamorous this is. We're like rock stuff. Yeah. And it was really just a play on that, whereas like it was 3.30 in the morning, can't sleep.

And for all of the, like, grind and, like, you know, sometimes the shitty aspects of being in a band, we're also very, very fortunate to still be doing it. So it was just kind of the duality. And there's a lot of sarcasm in that song. It's maybe one of our more playful songs. And I feel like it's playful in a way that I can. really get behind. Not to say I couldn't back when I was

20 or 21, especially like on black and white when there's things that, you know, there's lines on that record specifically that I listen back to and I'm like, oh, fuck, what was that? A lot of that was like co-written. A lot of people being like, do this. Yeah. So this was like my stab at maybe

a little bit of humor in in the kind of this surrounding aspects of like very heavy and you know yeah well humor is such a funny like we talked about a few times but like where does humor play a role in music and there is a line that you can go down and sarcasm is like the perfect way to get there um because you don't want to make like a joke song but there is something about life that you know there's tons of funny stuff so it's like how can you throw that into a song yeah it's one of my favorites on the record i really do love

Are there any songs that are still giving you trouble? Like a song that we're going to hear on maybe the next main record that you've been working on for years? I always go back to Oasis. Like, Noel Gallagher was working on Stop the Clocks for like 20 years. I mean, there were a lot of songs that were written that I was confident that they would be like 100% on the record. And then we essentially scrapped them all.

These guys hated them. No, it was like we were all on board. And there was like a different record at the beginning. Really? Yeah. And it's not over yet happened and it flipped. Wow. Like it was like there was a complete piece.

Not like demoed or not recorded or anything. Yeah. Demoed and I was like, this is it. This is like it was kind of in the touch-ish kind of vibe. And then you wrote, it's not over yet. And it was like, no, we're doing that. Wow. I think the one that stands out to me and I used some of the lyrics from the original demo,

but brief commercial break. Right, right, right, right. What was the working title for that? Thanks a lot. Thanks a lot. Yeah, so that sounded drastically different. And had been living in this completely different space for three or four years. Wow, yeah.

And I still really love the OG. And I just never, I always got to this one spot and I could never get past it. And we ended up making it into what it came. We do have like a huge graveyard of songs that have spots that we could never get past. It's a big, big list. One that we've been messing around with on the tour that we're like, we're very close to being done on the album.

And it just couldn't get there and couldn't get completely perfect. So it's like the hope is that we get that one over the line and that people could actually hear that sometime soon. Maybe at the next like 8123 Fest You do a graveyard show Yeah Just do the scraps of all the songs Even if it's 10 seconds

All right that was that song I think the fucked up part would be There would be no words It'd be like You'd be getting the crowd service I'm sure Same person crowd serving to acoustic taxi Is coming up to one of those for sure

Kind of a fun one I've been asking all my guests What posters did you have on your walls growing up in your bedroom Oh my God I had I had the Johnny Cash one where he's giving the finger next to a fight club poster and then the rest of the room was all apy cutouts that i had on like every magazine i was like anything i sort of even liked i cut out and it was my

entire walls yeah that's what i remember doing is like just having like a hodgepodge of like i mean honestly like the like this yeah just like just like every which way like yeah drive through records just any anything i could get yeah i pre-ordered i can make a mess like no business their first one and with the pre-order there were 500 copies of the poster signed by ace and that was like hanging and we toured with him and I told him that and then I was like I wish I didn't tell you that I think I just had like I would rip pages out of magazines playboy yeah if somebody was playing a guitar that I thought looked cool it was going on my wallet yeah just did it like that

I remember my brother who got me into music He's 12 years older than me, so he was always like, his room was the coolest. It had all the cool stuff on the walls and stuff. I think he did that once where he cut everything out of magazines and did it real intricately and covered a whole wall in it. And like two days later, my mom was like, hey, you got to switch rooms with your sister. And he was like, I just put everything on the wall. She gets all this cool stuff.

I also appreciate shout out Drive-Thru Records. There's a little shout to the Garden State, Jersey on this record. Where did that come into play lyrically? Just a lot of good memories in Jersey. Wasn't when you did the Asbury shows In the middle of recording this? We had just wrapped those Asbury shows, yeah, and that was kind of...

I mean, I loved the movie growing up, but then we did that whole stem. Yeah, fantastic. And Asbury has changed so much since we first visited 20 years ago. It was a little scarier 20 years ago, right? A little bit, yeah. But that week was so...

It was so special, and it was... Yeah, it was just like, noticing the changes in Asbury and remembering Asbury lanes where we first started and then I don't know it was just like a a warmth of accomplishment and also just like an appreciation for the beauty and things and being

in this spot that was yeah it was so different from where it started in our minds but it was very representative of kind of the evolution that we've been on and just kind of an appreciation for everything. I love that. It was like a nostalgic moment in the chorus because I think people that know, like, Jersey's like a breeding ground for like this scene, if you want to call it down, especially like 20 years ago.

So many bands coming up. I mean, all the time references Jersey all the time as like a second home after Baltimore because it's just such a massive place. So to hear, I'm in the Garden State on that song, I was just like, man, this is awesome. That's awesome. And is there any changes to the main discography that you would make if you were given the ultimate go back. Like, I know you said there's some lyrics

that are a little cringy to you now, but I think it's all the part of it. Yeah, it's attached to you. Yeah, it all builds on itself. Some you like, some you're like, I would have done it different, but you can't. But I'm a thousand percent confident in saying that we were a thousand percent in.

Yeah. At every moment we were in. Yeah. You know, we were just as enthusiastic about, the song that we might like the least off of Can't Stop as we are right now in this moment. I'm a thousand percent confident in saying that. I mean, there's a thing of every time we put a record out, we're like, this is our best record. Like, you believe it in the moment.

And then as it happens, you're like, oh, you can see the little things that maybe you're not as happy about it. Or you play something differently live and get so used to. Yeah. Things involved like that. We've definitely done that. Yeah, each record is just a reaction to the one we did previously too. Yeah, that is a weird thing. You go back some stuff we just play way faster live.

Yeah. So you go back. Pretty much everything. And it's just like, I'm like, whoa. Okay. When All Time Load did like the Forever sessions and went back and did a few things, I remember texting Ryan being like, did you do the simple choke on damned? Like you do live?

Like I was very like, I love the way that the songs are played live. And I know main fans can probably get used to that after a while as well. Yeah. But I love this album, guys. Thank you. Thank you. Awesome. Congratulations on all the continued success.

10 years or not 10 years, way longer than 10 years, 10 albums. is incredibly impressive for everything. Thank you. Thank you so much. Thanks for having us back. Of course, thanks guys, yeah. Nice new room. Let's make a tune, dude.

It's hot in here, sorry. It's been like that Germany hotel room. Yeah.