Aaron Gillespie: Underoath Grooves, Fills & Stories

Añadido: 2026-05-12

[00:00:00]That is crazy.

[00:00:03][music] >> The heaviest music I knew was Nirvana.

[00:00:06]And to be honest, at first I was like, do I don't [music] even know if I like this music. I think my whole thing has always been, how do I make something that I've never heard?

[00:00:16]>> I'm dying.

[00:00:16]>> More water.

[00:00:17]>> We were always like this violent, bombastic live band. We wanted the band to sound like it felt live.

[00:00:27]>> [music] >> Aaron Gillespie is the drummer and vocalist for the band Underath. As a founding member, Aaron helped define the band's sound through groundbreaking albums like They're Only Chasing Safety, Define the Great Line, and Lost in the Sound of Separation. Known for his dynamic playing, powerful grooves, and clean vocals, he's become one of the most influential drummers of his generation in the post-hardcore and metalcore world. Aaron is also the frontman and creative force behind The Almost and has collaborated with Paramore, Bring Me the Horizon, A Treyu, Silverstein, and more. Please welcome Aaron Gillespie to Dr. [music] I am [music] going [music] [music] [music] for the next one. Hey >> [music] >> Heat. Heat.

[00:01:52][music] Yeah.

[00:02:00]Heat. [music] [music] with the loss [music] [music] of that.

[00:02:35][music] Don't you [music] [music] [music] How many [music] feel Feeling [music] free.

[00:03:22][music] [music] Heat. Heat. Heat. [music] [music] my [screaming] [music] [screaming] >> You're a monster. [laughter] >> What do you mean?

[00:04:05]>> I just witnessed this from like three feet away from you. You can feel the wind coming off your symbols.

[00:04:11]>> Oh, come on. [laughter] Can I get a drum key, >> please?

[00:04:15]>> You didn't bring one with you.

[00:04:17]>> No, [snorts] >> you can have [ __ ] in your pockets doing that.

[00:04:20]>> Yeah, we'll get to a drum key.

[00:04:21]>> Thanks, Tyson.

[00:04:23]>> I'm surprised even the symbol tilter held up. I swear every song you've done over the last few days is your ride symbol is straight vertical.

[00:04:32][laughter] >> It's fine.

[00:04:34]>> Well, while you catch your breath and have some water, to all of you out there watching, please welcome the one and only Aaron Gillespie to Drumo. This is like 15 years in the making, man. I have been seeing your name come up in random YouTube comments and comments from Drumo students over the years. When is Aaron going to come on the channel?

[00:04:51]>> That's nice of them.

[00:04:52]>> It's It's very kind. But you're a you're a legend, man.

[00:04:55]>> Well, >> I remember seeing your videos like >> legend to a couple.

[00:04:59]>> Well, to me, >> hero to none. I'm >> and to our uh host of the Mora channel in the control room, Mr. Ron Jackson.

[00:05:05]>> Give it up for Ron.

[00:05:06]>> You're his favorite drummer. So, this is a a big treat for us here at Drumo Museum.

[00:05:10]>> That's nice, dude. It's awesome to be here. I've had a blast.

[00:05:13]>> Yeah, it's uh I don't think we've laughed this much in years.

[00:05:17]>> We've we've we've messed around a lot.

[00:05:20]>> It's been a good time. We uh we filmed some new videos with you that we haven't done with anyone else.

[00:05:24]>> Oh, yeah.

[00:05:24]>> And uh they are hilarious. So, I can't wait for you to see that. Uh any of the big under songs that you don't hear in this stream, you're going to hear in other videos coming up. We've done a bunch of the main formats you guys know and love on the channel and >> all the scary ones.

[00:05:39]>> All the scary ones.

[00:05:40]>> I was scared of that song you've never heard thing.

[00:05:42]>> Dude, you crushed that.

[00:05:44]>> Thank you.

[00:05:44]>> We're not going to say too much more.

[00:05:45]>> No, you've got to wait. This is probably the first video from Aaron you're going to see. Um, and this stream's going to be fun. We're going to play a bunch of tracks from the whole Under.

[00:05:55]>> I saw the list. I might screw some of them up. We'll see.

[00:05:57]>> I personally picked them all. So, >> I'm just glad you >> You did good. No, you I think you did. I think you grabbed what people would want to hear.

[00:06:04]>> I'm glad.

[00:06:05]>> But some of them are ancient.

[00:06:06]>> Longtime fans are in for a treat. We're going to talk about your career, your playing style, uh maybe a bit about your setup, and also throughout this stream, we've got a bunch of questions that our students on the Misora app have sent in.

[00:06:20]So, thank you to all of you Misora students who have sent those in.

[00:06:23]There'll be a bit of Q&A happening throughout.

[00:06:25]>> Thank you for having me, dude. It's been um it's been a rad couple days. I was going to say uh before we play this next track, I remember seeing videos of you, I don't know if it was like 10 or 15 years ago, um these like 360p drum cam videos of you on I don't know, Warp Tour or something.

[00:06:41]>> Who knows?

[00:06:41]>> And you were the guy who had the longest hair.

[00:06:44]>> Okay.

[00:06:44]>> But also your symbols >> were like straight vertical and you're playing what, like 22 24s?

[00:06:50]>> Uh 22 24 22.

[00:06:52]>> Yeah. Just like massive.

[00:06:54]>> I think back then I might have had a 21 over here.

[00:06:57]>> Who knows? didn't stick around though.

[00:06:58]>> You get older, you age, you you level up, brother.

[00:07:01]>> That's sick. So, the next track we're going to do is Loss. This >> Oh, new one.

[00:07:06]>> This is your set opener.

[00:07:08]>> This is like uh like one of the latest under oath songs. So, this came out last year. So, >> yeah. Do you like it?

[00:07:14]>> I love it.

[00:07:15]>> Perfect.

[00:07:16]>> Yeah.

[00:07:16]>> You never know.

[00:07:17]>> No, I just I think that I'm like we are one of those bands that like stretches stuff out live.

[00:07:23]>> Yeah.

[00:07:23]>> And so all these are to the record. So like that whole song I was thinking I was like what's actually next?

[00:07:28]>> Yeah. I'm curious. It's we do this all the time in the studio here, but we give the artists the studio version most of the time and sometimes it's been 10, 30, 50 years since they they played the record uh since the day you recorded it.

[00:07:42]>> So have you ever played to the studio versions or is this like first time in a while?

[00:07:46]>> No. I mean, no, this the newer stuff will be simpler for me like memory wise because >> we don't stray too far. But the old stuff, >> you know, you've been playing song for 20 years. You put a crowd moment in the middle or >> you know, you slow something down in a spot or we do even like stuff off They're only takes safety. We do like hits in the bridges that aren't on the record.

[00:08:08]>> Nice.

[00:08:08]>> Stuff like that. We we did a song yesterday and I was like, "Oh my god, oh my god, oh my god, what what happens actually supposed to happen?" You know, I think I nailed it, but it was like >> You nailed it. It was one of those things I was like, "Oh [ __ ] what's next?" You know, because we just we do it so different. Even the end of that song I play differently. The one we just I just played.

[00:08:24]>> Yeah. It's cool because you record the songs and you get it up to that point from demo to recording it or whatever.

[00:08:30]But once you actually play it out and you see what what uh actually impacts people or what they connect with. It's always the weirdest parts too that become the singalongs or like the >> the crowd participation moments are always the part sometimes sometimes they're the parts you expect but sometimes they're not >> like sometimes you think something this is really going to hit live >> Yeah >> and it just doesn't and then sometimes the part that does so you know when you play the album version it's like it reminds me of like what I thought at the time when we were making it this will be the thing and then you get in here and that's not the thing you know you get out you get out there and you're not the thing and you get back in here and you have to go back to where you originally thought, you know, the energy moment would be or like the moment where the crowd does their thing. So, it's just a learning curve in here, bro.

[00:09:14]>> Yeah, it's great, man. Well, let's hear loss and then we'll uh keep trucking.

[00:09:18]>> Let's freaking go.

[00:09:19]>> Let's do it.

[00:09:23][music] I [screaming] made myself [music] [music] [music] Heat. Heat. [music] [music] >> [music] >> always carried away.

[00:10:14][music] It was great [music] to get you saw me running out [music] of the sky.

[00:10:33]Now I'm stuck in this child.

[00:10:38]Yeah, I know that I [music] can [music] always carry away.

[00:10:54][music] [music] You're always going to carry away.

[00:11:08][music] I will [music] [screaming] just [music] always carry away what What a waste. What a waste. Never [music] again.

[00:11:56][music] [music] >> [laughter] >> No mercy on that one.

[00:12:17]>> I mean, come on. It's fast.

[00:12:20]>> Yeah, >> those hits and like the heavy breakdowns and stuff are like so brutal.

[00:12:25]>> Yeah, it's faster than I remember.

[00:12:27]>> Yeah. Crazy. We got two openers already.

[00:12:31]Young and inspiring.

[00:12:32]>> Yeah. Young and inspiring. Yeah, >> it's good.

[00:12:34]>> Ripping.

[00:12:35]>> Um, we're going to start off by talking about some of your earlier years, but Sure.

[00:12:39]>> Um, first I want to ask just because I know everyone's going to be asking, your racktom.

[00:12:45]>> Yeah.

[00:12:45]>> Tell me about the setup and why it's set up the way it is.

[00:12:48]>> Well, for years and truthfully, where I like it is lower and flatter and like over here, >> but in the last few I'm old, right? So, >> you're not old, Aaron. In the last few years, I've got like an arthritic situation with my left hand. And so, like, we were talking about this yesterday, but like it feels natural to me and less painful to do this than this >> cuz when you're reaching and I have tennis elbow and this elbow in my right elbow.

[00:13:24]>> So, when you're like, >> Yeah.

[00:13:27]>> It's like it's way more effort. You know what I mean? This is just simply ease of use.

[00:13:32]>> Yeah.

[00:13:32]>> I feel like it's easier and more accessible. It's closer and tilted, I guess, to the right, you know?

[00:13:39]>> Yeah. Yeah. I think that's the first thing >> I started noticing about your setup. I'm like, "Oh, that's an interesting interesting choice." But it makes sense when actually do you want to even demonstrate like how you hit that? You you showed me a little bit yesterday, but >> So, if I'm using my left hand, you know, if I'm like [music] Right. You can as opposed to that.

[00:14:04]>> Yeah.

[00:14:05]>> You You see the difference? It's like, you know, as opposed to this [music] now. It feels out of place when you But if you do this overhanded, [music] >> just it's just less it's less um it's less use these joints.

[00:14:21]>> Yeah. Did you find that actually made quite a big difference? Like were you less tired or did it felt like easier to play it like that?

[00:14:28]>> Yeah, it's easier to play it that way and it just I mean the real reason is it hurts my left hand less >> and my right elbow less.

[00:14:34]>> Yeah.

[00:14:35]>> But I did it that way out of necessity and now it it does >> it is e I'm used to it now. It's easier, you know.

[00:14:42]>> Nice. Just wanted to address that because I'm sure all of you >> Why is this rack top crooked?

[00:14:48]>> Especially all the gear heads out there, you want to know about the kit. So >> that's the whole thing. I mean, that's why this looks the way that it does as opposed to >> in years past with the flat symbols and, you know, this is all just because >> I'm in my 40s.

[00:15:04]>> Yeah. At the end of the day, you don't want to play knowingly hurting yourself.

[00:15:08]It just doesn't make any sense.

[00:15:09]>> There was when I did this, this is only like a probably 18 months, two yearsish old.

[00:15:15]>> Mhm.

[00:15:16]>> And we were in it started with the symbols. We were in Europe and I had a different uh tech than I normally have.

[00:15:23]It's this guy named Gav. Shout out Gav.

[00:15:25]>> And I showed up to rehearsals and the symbols were tilted.

[00:15:28]>> Yeah.

[00:15:28]>> Not this much, but just slightly.

[00:15:30]>> Mhm.

[00:15:30]>> And I was like I went to say something but I was so to be honest I was so jet-lagged. I was like screw it. I just >> I want to get through this rehearsal.

[00:15:37]>> Yeah.

[00:15:37]>> And go to bed. And like two songs in I was like damn this is dope.

[00:15:44]>> So it just stuck.

[00:15:45]>> Yeah. Whatever works.

[00:15:47]>> Here we are. Yeah.

[00:15:48]>> Yeah.

[00:15:48]>> It's great. Um, okay. Let's go back to your early years.

[00:15:53]>> My early years.

[00:15:54]>> So, you grow up playing your first two records, Act of Depression, uh, Cries of the Past. These are like really heavy records.

[00:16:02]>> Metal metal like early like year 2000, 2001. Yeah.

[00:16:06]>> Yeah. So, take us back to that point in time. What was it like with the band?

[00:16:10]All that stuff.

[00:16:11]>> I was a kid. So, I was 15, 16 years old.

[00:16:15]And um the original singer, his dad, like I play drums in church all the time. That's how I learned and that's how I came up. And his dad had like his dad didn't even attend our church, >> but he came for like a Sunday night service. I don't remember what day of the week it was.

[00:16:30]>> Yeah.

[00:16:31]>> But he knew his son was starting a band.

[00:16:34]>> He's like, I saw this kid play drums and on my answer machine the next day was this dude calling me. And like a week later, they picked me up in a car. And these kids at the time were like 18, 19.

[00:16:45]>> Yeah.

[00:16:46]>> So, whatever possessed my parents to let me do that cuz I I have a kid who's 14.

[00:16:51]>> Yeah.

[00:16:51]>> And there's no world where I'd be like, "Yeah, go ahead." Yeah.

[00:16:54]>> Like >> get in the car and drive an hour to like >> Yeah.

[00:16:57]>> unknown location to play drums.

[00:17:00]>> But my parents, you know, they just knew that's that's all I wanted to do was be in a band, you know, it's like my dream.

[00:17:05]>> So, we went and did that. But the whole time, you know, the it was metal. It was very heavy. And I didn't know anything about that music. The heaviest music I knew was Nirvana. Yeah. Like I didn't >> like I had never really heard screaming on a song except for like that big Third Eye Blind record with Graduate and all that where he's like you and me. Yes.

[00:17:23]You I I didn't >> you know. So, >> and to be honest, at first I was like, I don't know if I don't even know if I like this music because it was so aggressive. It wasn't what Under Oath is, what the public knows under oath as.

[00:17:36]It was like metal. Mhm.

[00:17:38]>> Um, but I just loved I loved being in a band, but I always felt like I didn't really become creative and under oath outside of the drums until really until like they're only Chasing Safety, you know, cuz for for lack of a better words, those two first EPs were like they weren't distributed. It was it was a local it was like a regional at best type of thing, you know what I mean? So, we would go to Georgia and Alabama and >> Yeah.

[00:18:03]>> You know, we did one tour. Um, but it was, you know, it was it was it was I was just a kid. I didn't I didn't The guys that were in the band kind of governed it like they and the musically and they, you know, that first drive where they picked me up at my house and just drove me two hours away or whatever it was, they were playing me all this music and it was the weirdest. It was I haven't thought about this in years. I mean, this was 25 years ago. Like, it was like I was like, "What the hell is this?" You know what I mean? I had no >> a whole other world.

[00:18:31]>> Yeah. I mean, it literally was like, "What's wrong with these people?" You know? So it was it was like my first education into any post hardcore metal whatever was on that car trip.

[00:18:42]>> Yeah.

[00:18:42]>> And it was strange when I was like I don't even know what is this you know.

[00:18:46]>> Yeah. I mean that's even strange to think about like I think the first time I listened to metal was Mishuga in like ninth grade.

[00:18:53]>> Yeah.

[00:18:53]>> Like what is this? Like rhythmically it's unlike anything I'd heard but also these guys are screaming on this song.

[00:19:01]This stuff was like these guys were really into like >> there was a lot of bands from Florida like a lot you know >> so there was so there was such a rich in the late 90s early 2000s and even up until the mid 2000s and I don't know now I don't live there anymore but it there was so much like a huge metal hardcore punk like there was all that music so they they weren't playing like Slayer and >> Slipnot they were playing like local bands they had you know people would put out demos and you know make artwork for them and yeah >> it was just a different culture back then. People would make magazines. They called them Z and they would distribute these magazines that >> you know were like >> the AP of that local scene. You know there was all that going on and it was so it was we it was like getting birthed into like it was just unbelievable. Like it was a whole underbelly of life musically that I I couldn't even fathom. Yeah. You know I didn't even understand it.

[00:19:56]>> Yeah. Is it just bizarre? or I don't know the last time you even went back and listened to those two EPs, but is it just crazy even listening to yourself on that record?

[00:20:05]>> Well, yeah, you know, Active Depression was um it was done at this studio. I haven't thought about this in years. It was at a studio called Audio Lab in Tampa, which is where like >> Mortal Mortal uh not Mortal Morbid Angel recorded and >> like Dside and like like and this guy named Greg Greg Marek made that first record for us and this is be he's passed on now but it was to tape >> so there's no tape is very is a different animal entirely.

[00:20:34]>> So when I listen to it I hear all the imperfections. I listened to it not too recently. I mean, not too long ago. And all the imperfections and stuff, you hear that stuff because we didn't have the technology we have now. Yeah. You know, you listen to hardcore bands now and metal bands now, not all of them, but it's >> it's really computerized, you know, it's very edited like >> somehow along the way like metal core became pop music where it's which is great, but it's like it's edited like like pop music. And so when I listen to that stuff now, I'm like, "This sounds like I recorded it with my phone."

[00:21:08]>> You know what I mean? And it's and I was 15, 16 years old. I had never been in the studio. I had never played drums outside of churches.

[00:21:15]>> That's crazy.

[00:21:16]>> And at this point, we had become, you know, be become like a little bit of a local band. We were playing >> some venues and bars and stuff like that. But like I, you know, the experience was just, it was terrifying.

[00:21:27]>> Yeah. because you get there and you only, you know, the only studios you'd seen I had ever seen were like on the back of my dad's records, >> Abby Road and you know, Might Avail and like these places that feel mythical and for some reason I drew that parallel >> when I got in that room. They were like play and I was like uh >> okay.

[00:21:45]>> Yeah. You know, it's it's so which is so common place now. We're having a conversation and we're playing these songs and it feels normal. Mh.

[00:21:52]>> But there was a time when it's your time to go and they turn a click track on and I'd never heard a click track, >> you know. Yeah.

[00:22:00]>> They had these hardware units that were click tracks.

[00:22:02]>> Yeah.

[00:22:03]>> You know, they push play on the dialed it in and push play on this thing and I'd be like, >> "What?"

[00:22:07]>> Yeah.

[00:22:08]>> You know, >> it's supposed to play to that >> with an accent. [laughter] You're like, "Wait, there's an accent? Why is there an accord?

[00:22:15]>> What does it mean?"

[00:22:16]>> Yeah. It was It was really scary. So when I when I listen to those things those two things now it feels like I can just I hear my apprehension >> in it. You know I had when you're that young >> and you get in a room like that with this older guy who's recorded all these bands and he's like chain smoking. He's like yeah dude [ __ ] Canc course was in here [ __ ] last week. Every other words the f-word and you're like what am I doing?

[00:22:43]>> You know what I mean? It was it was scary. Like I was so I hear that apprehension and that fear >> when I listen to that stuff.

[00:22:50]>> You know what I mean? It's not like I'm a I'm a habitual rusher, you know? I rush and that stuff is like >> it's not rushed. It's like it's like it's all [laughter] over the map, dude.

[00:23:01]>> Oh, you're 15.

[00:23:02]>> Yeah. Well, yeah. I mean, you know, and I was scared and I probably had better ability then than the than those things show. I probably was a better player than >> that than that than what you hear there.

[00:23:14]I just was so afraid.

[00:23:15]>> Yeah. In the environment that you were in.

[00:23:16]>> Yeah. A lot of firsts.

[00:23:18]>> I was scared. You studios back then had big consoles and main speakers and it was just different, man.

[00:23:23]>> Yeah.

[00:23:24]>> You know, >> crazy.

[00:23:26]>> Wild.

[00:23:26]>> Um I know we were talking yesterday about like some of that early '9s stuff like you listen to Blind by Korn and >> it has this raw imperfection to it that at the same time is so perfect.

[00:23:38]>> And we go back now, >> what is that like almost 30 yearsish?

[00:23:43]And uh there's something so just so good and real about it.

[00:23:47]>> Yeah. I think I think we're all trying to chase that. I I mean speaking for us, you know, especially with the state of metal core now where it is, which is no shade, but it's just very it feels like pop music, >> you know what I mean? Like the way that it's cut and the way that it's edited and I and you have to do those things because I think people's ears and even our ears even as as musicians, we're accustomed to hearing things perfect.

[00:24:10]>> You know what I mean? But there was a time when the that performance I just did just then would be a record.

[00:24:15]>> Yeah.

[00:24:16]>> There was a time when that was good enough >> to be a record and that isn't now. Like what I just did would take an hour to edit.

[00:24:22]>> I mean I'd listen to that on the record.

[00:24:24]>> You would. [laughter] But you're you're into you're in you're into music. Yeah.

[00:24:28]>> You know what I'm saying? So I feel like I'm constantly trying to chase >> whatever that feeling was you just heard >> trying to chase that feeling >> but make it modern. I think that's the that's the next goal in my life with Under Oath is like the feeling you felt sitting there is trying to get that through the speakers is how how do we do that without editing it to the wall but also not being miserable listening to it and going wow that was a [ __ ] take or whatever.

[00:24:52]>> For sure.

[00:24:52]>> You know.

[00:24:52]>> For sure. Yeah. It's cool to hear the stories from kind of how you came up.

[00:24:56]>> I'm a thousand years old Brandon.

[00:24:58][laughter] >> I'm 103. We were we were asking uh well we won't give too much away but uh they were talking about the eras of Aaron Gillespie.

[00:25:07]>> Oh yeah.

[00:25:08]>> Old enough to have different eras if you're playing man.

[00:25:10]>> I'm 40 I'll be 43 this year.

[00:25:12]>> Legendary.

[00:25:12]>> That's a weird thing. It's a weird thing.

[00:25:14]>> Um we're going to move to the next track.

[00:25:17]>> What is it?

[00:25:18]>> This is this is one for the fans. We're going to do When the Sun Sleeps.

[00:25:22]>> I don't know when the last time you played the studio version of this was, but >> Oh, brother. [laughter] I mean, we played this song um in 2024 with the original singer from back then. Um and we said, it's funny that we're doing this because we said that night, Spencer said, "We're never doing this again."

[00:25:43]>> Yeah. [laughter] >> Like this is a oneanddone thing and we just did this cruise and Dallas Taylor who's the original singer, his band was on the Sons of Disaster, was on the cruise and we didn't play it >> and everyone thought they're going to do it. you know, we're on a boat maritime law. We didn't do it.

[00:25:59]>> So, I haven't played it since October of I think it was October or November of 2024.

[00:26:05]>> Yeah.

[00:26:05]>> And that wasn't the album version. I have no idea what I'm about to hear.

[00:26:08]>> This is going to be good. This is uh Yeah, this is years since you probably done this.

[00:26:13]>> This song is so long. You'll notice like when we played it, this is my last thought on this song. It it like if something felt good back then, you just did it. it. There was no there was no consensus of like, hey, do you think this is too long or hey, should we like pair this part back to four instead of eight bar? None of that. You just you just did it until someone was like, switch now.

[00:26:37]>> Yeah.

[00:26:37]>> So, I don't know. And this was also like my first foray at singing in the band.

[00:26:42]This was the first >> like the first >> foray into that.

[00:26:46]>> Yeah.

[00:26:46]>> So, >> very cool.

[00:26:48]>> Can't I make no promise.

[00:26:49]>> Let's do it. One for the fans.

[00:26:51]>> One for the fans.

[00:26:53]>> [music] >> sounds [music] 2002. Let's go, baby. [music] [music] [music] Yeah.

[00:27:22]Heat. [music] [music] Heat.

[00:27:35]Heat. [music] [music] Heat. Heat.

[00:27:55]Yeah.

[00:28:07][music] [music] Heat.

[00:28:21]>> [music] [music] >> Heat. Heat. [music] Heat. Heat.

[00:28:44][music] [music] [music] Yeah. Heat.

[00:29:02][music] [music] Heat. Heat.

[00:29:17][music] [music] Yeah.

[00:29:29][music] Heat.

[00:29:37][music] Heat. [music] Heat.

[00:29:50][music] Yeah.

[00:29:58]Heat.

[00:30:03][music] Heat. Heat.

[00:30:16][music] Close [music] my eyes for sky sun. [music] [music] [music] Heat.

[00:30:49][music] Heat.

[00:30:55][music] [music] Heat.

[00:31:03]Heat.

[00:31:06][music] [music] >> [music] >> Heat. Heat.

[00:31:30][music] Yeah. Heat.

[00:31:42][music] >> [music] [music] >> Look what you've done.

[00:32:08]>> Story of my life.

[00:32:10]>> The snare has dropped like >> That's why we can't have nice things.

[00:32:14][laughter] Yeah, >> dude. What a great song.

[00:32:17]>> You think so?

[00:32:18]>> It's a throwback. It's classic.

[00:32:20]>> I mean, it's so like >> you remembered the whole thing.

[00:32:23]>> I did.

[00:32:24]>> It's always funny like >> I'm not sure that the kick pattern in the course was right.

[00:32:29]>> Well, you got something original in this session.

[00:32:32]>> Yeah, that's that's a neat.

[00:32:33]>> You're all lucky. But, uh, dude, it's always funny like trying to like watching drummers in your position right now when they're listening to that studio version, >> seeing it come back in real time and almost like remember what you did 24 years ago or something.

[00:32:49]>> Crazy because even when we did it a year and a half ago, I'm certain that we would have been like, >> "This is so [ __ ] long. Let's change X or Y."

[00:32:58]>> Yeah.

[00:32:58]>> So, it's the strangest. That's weird.

[00:33:01]>> Yeah. We're going to move on to Chasing Safety in a minute, but um you said that was the first record you were doing vocals on.

[00:33:08]>> Vocals. Yeah.

[00:33:08]>> Was that something you pushed for or is that something >> No, it was more like the same guy that produced Chasing Safety produced that album.

[00:33:16]>> And that studio where that was cut was in a one-bedroom apartment.

[00:33:20]>> Crazy.

[00:33:20]>> In Bard County, Florida. So like Fort Lauderdale, Miami area. We couldn't do drums there obviously, but >> he had like a closet. I'll never forget this. He had a closet, like one closet.

[00:33:31]It was two-bedroom apartment, and he did like the first dashboard record there.

[00:33:35]>> Oh, yeah.

[00:33:36]>> For the Seems Forever.

[00:33:37]>> Mhm.

[00:33:37]>> Like all that South Florida, maybe some New Found Glory was done there. Yeah.

[00:33:41]>> Trying to remember like all that South Florida stuff. He had these two closets.

[00:33:45]One had guitar amps in it. I can't believe he didn't get kicked out of that apartment.

[00:33:49]>> But I remember like it was sort of necessity. We wanted to have some singing parts. And this is an embarrassing fact, but the truth, >> I thought that sounded so cool. I had never heard my voice with like harmonies and stuff >> and I've always had a knack for like picking out harmonies and >> you know alternate strange harmonies and stuff like that's been something I love to do. I'd love to do it today. But like >> I did all these harmonies and stuff and I had never heard myself sing other than like crappy recordings I had made on like tape recorders or whatever. So hearing myself with all these harmonies and stuff, it was the first time I ever like I was like this is cool. M.

[00:34:26]>> And it wasn't like I'm a badass. It was more like >> I can't believe that's me.

[00:34:31]>> It was it felt, you know, it felt like um >> it felt strange that it was me.

[00:34:36]>> Yeah.

[00:34:36]>> You know what I'm saying? I was like, "Oh, that's really me doing it." And he had these closets like I was saying before. And the vocal booth one was just like >> you just went in this like small like not the size of a walk-in closet, but it had a door like a you know like a door to a room door, not like a closet door.

[00:34:52]And it was all just black egg crate like from a bed.

[00:34:55]>> Yeah. And I remember being so scared [laughter] and standing in this like closet in this apartment and it could have been like it might as well have been ocean way. I was like so like oh my god like >> I'm in here sinking.

[00:35:07]>> I never sang in like a real studio. And I remember hearing it back and just being like this is dope, dude.

[00:35:11]>> Yeah.

[00:35:12]>> Like it's the first time you the first time you most of the time you hear your voice for the first time you're like this is shitty.

[00:35:17]>> You know it's like when you hear yourself talk for the first time and you're like >> I'm a turd. You know what I mean? Like I'm a [ __ ] turd. like nobody everyone that hears us is going to be like this dude sucks.

[00:35:26]>> And it was the first time I ever I didn't feel like that.

[00:35:29]>> Yeah.

[00:35:29]>> Which was dope.

[00:35:30]>> It's so funny, man. Like we've had a few singing drummers on the channel. Ron from Masttodon, the best >> Phil Collins, >> and it it's a common thing like the voice seems like so it's so much more of a like a personal thing than when we hit drums like there's there's almost like a degree of separation where our body isn't our instrument.

[00:35:51]>> Yeah. Yeah.

[00:35:51]>> Um, but with vocals, it's like that's you.

[00:35:54]>> And if it sucks, you can't do anything about it.

[00:35:57]>> Yeah.

[00:35:57]>> You know what I mean? Like you can you can try to take lessons and get better or learn techniques, but I I'm one of those people that I don't if you're born tonedeaf.

[00:36:04]>> Yeah.

[00:36:05]>> I don't know that you can. I maybe there's some teacher that knows how to fix it. But for me, it's like if you can't hear pitch, it's, you know, and you don't know if maybe you just think you can sing. Like you don't know when you get in there for the first time, you're like, "Oh, I think I can do this, >> but it might be horrible. Like you don't have any way of there's no what's the frame of reference? You don't have a frame of reference. This isn't logic didn't exist.

[00:36:26]>> Yeah. And your voice is no one else's voice.

[00:36:29]>> Yeah. And if it sucks and people don't like it, >> it's like what are you going to do? Cut your throat out? Like there's nothing you can do.

[00:36:35]>> Hopefully not.

[00:36:36]>> No. But you know what I'm saying? Like you can >> try playing drums.

[00:36:38]>> Like you can play drums and be like, "Oh, that dude's snare sounds like [ __ ] We'll get another one."

[00:36:44]>> Oh, his feel is a little rushed. Well, just play to a click. Fix it.

[00:36:47]>> You know what I mean? Like >> if you have rhythm, you can fix it. you know, adapt a different style. You can adapt a different sound. Like, you can go to the pawn shop and buy a [ __ ] drum kit and see if that inspires you, whatever. Like, here's your voice.

[00:37:01]>> Yeah, >> it's a scary thing.

[00:37:02]>> Well, props to you for uh sticking with it cuz it's such a >> that's the sound of the band in so many ways. Your voice and your your drumming.

[00:37:11]And >> um I want to shift to Chasing Safety. Uh we got a bunch of tracks we're going to do from this one. Um, but what was different for this record?

[00:37:20]>> I was thinking about this last night because we went to dinner and we're talking about old, you know, I was telling all these old stories and whatever and you know, Ron's asking all these questions and [ __ ] [laughter] >> you know. Well, it was so fun and >> good times.

[00:37:34]>> I was going down memory lane a little bit.

[00:37:36]>> Yeah.

[00:37:37]>> And I was thinking about this last night like I still feel now the way that I felt then. and and like what I mean is like Chasing Safety blew up and became this big success, >> you know, and >> I have plaques on the wall from it and it it made Under Oath public.

[00:37:55]>> Yeah.

[00:37:55]>> And but the way that I felt when we were making it was like I felt making those local band things or or that record.

[00:38:04]>> I didn't >> I didn't feel like, oh, I'm about to rip I'm about to rip this [ __ ] open. Yeah.

[00:38:09]>> Like we we and and today when we make records, I don't feel that way. Yeah.

[00:38:13]>> I don't feel like >> this is going to do numbers >> like you know like what must it feel like to be a Sabrina Carpenter or someone and go in the studio >> like this is a hit >> you know and now I work for countless artists and you have this inkling like when you're in that chair you're like oh this feels like a this feels like a big song or whatever. But with Under Oath it's something that I we've just kept each other so humble. I don't know how to >> we just don't really take it too seriously. Like if if the five of us like it, we're like that's what it should be.

[00:38:46]>> Even if it's like and and we can talk about this later, but you hear this drastic shift between Chasing Safety to Find the Great Line.

[00:38:52]>> Like >> all these songs are from the same people, which is strange.

[00:38:56]>> You know what I mean? Because we just make and it sounds douchy, but it's not.

[00:39:01]We just make whatever we want to make.

[00:39:02]>> And so I feel like that's kept us honest. So the feeling going into Chasing Safety wasn't we're about to we're going to we're going to >> this is the one >> we're going to chart a path for for the bank. You know what I mean? Like it wasn't we didn't we just we thought we were doing the same thing we'd always done.

[00:39:17]>> Yeah. You want to write great songs >> and it feels that way now. And I think once you lose that I'm not interested in doing I think once that goes away I'll be disinterested in doing under oath anymore.

[00:39:27]>> Like when that goes away like let's just make something that the five of us think slaps. And we've had barbles and blips in that where we're like this could be a single. And every time we do that >> you know every time we set out to do that we fall we fall fail miserably. We fall in our faces every time.

[00:39:42]>> So the feeling was no different. It was just >> It was the same guy that did the previous record this time in a house.

[00:39:47]The apartment he had he had aged in. He had aged out into a house.

[00:39:51]>> Perfect.

[00:39:52]>> But we slept on the floor. I remember my mom gave me $50 to eat for four weeks and Spencer showed up with no money.

[00:40:02]>> Okay.

[00:40:02]>> So Spencer and I ate for $50 off of for four weeks and we made that record.

[00:40:07]>> Rice cakes, man. I don't remember what we I don't [laughter] I do remember there was these things called Bubba Burgers. It's like a box of like pre- pattied I probably have cancer.

[00:40:16]>> It was like a box of pre- pattied >> like in the shape of a burger.

[00:40:21]>> Yeah.

[00:40:22]>> We cook those [ __ ] on the uh on the stove top and we of course of course there was no buns.

[00:40:28]>> Of course >> that's like three extra dollars.

[00:40:30]>> I'm not buying buns.

[00:40:31]>> Tomorrow's meal.

[00:40:31]>> Yeah, that's I'm not buying buns.

[00:40:33]>> Oh man.

[00:40:33]>> Yeah, that's what we did.

[00:40:34]>> That's the secret sauce, guys.

[00:40:36]>> Bubble burgers, dude. If you're trying to make a record that that that gets through to the people, get yourself some Bubba Burgers. [laughter] >> And on that note, let's play uh let's play some of these tracks, man.

[00:40:47]>> Let's do it.

[00:40:47]>> We've got we're going to play two back to back as they are on the record. Uh it's Dangerous Business and then into Down Set Go.

[00:40:57][music] [music] Right. [screaming] [music] It's running on the other is running out [music] tonight.

[00:41:25][music] [music] Perfection in my dreams. [music] Hoping this could take you home.

[00:41:42][music] [music] My [music] knuckles have turned to white. There's no turning back tonight.

[00:42:02]Kiss me one last time.

[00:42:08][music] [music] >> [music] >> Heat. Heat.

[00:42:33][music] Heat. [music] Heat.

[00:42:46][music] [music] Heat.

[00:42:56]Heat. [music] [music] Heat. Heat.

[00:43:16][music] >> [music] [music] >> Drowning [singing] in my sea. I'm drowning in my sea. Drowning in my sea.

[00:43:44]I'm drowning in my [singing] sea.

[00:43:48][music] The shadows come to bright so much. [music] [music] [music] [music] Thank you.

[00:44:30][music] Yeah.

[00:44:36]Heat. [music] [music] >> [music] >> I am [music] I am away.

[00:45:02][music] [music] I'm a halfway cracking [music] and smiling wearing it all still boys. It's true. I'm just [music] around [music] the river.

[00:45:34][music] [music] I [music] can't see.

[00:45:51][music] [music] Heat. Heat.

[00:46:04][music] [music] Why never she [music] go?

[00:46:29][music] [music] [music] Yeah.

[00:46:55]Heat.

[00:46:57][music] [music] What we can be [music] [music] >> [music] [music] >> is for you [music] here.

[00:47:52][music] Whatever.

[00:47:58][music] Heat. Heat.

[00:48:03][music] [music] >> [music] [music] [music] >> Nice, dude.

[00:48:28]>> Two in a row like a show.

[00:48:30]>> That's sick. You get to hear it just like the record.

[00:48:33]>> The bridge section is just no drums.

[00:48:36]>> Yeah.

[00:48:36]>> But live we do that whole like [music] cuz we don't have an acoustic guitar live.

[00:48:46]>> Yeah.

[00:48:46]>> So, >> yeah, that's great, man.

[00:48:48]>> And when we started doing it, it was just the programming thing and it was like there's no there's so much space.

[00:48:53]>> Yeah.

[00:48:53]>> So, >> some uh some gnarly kick drum stuff in uh that last one.

[00:48:57]>> Yeah. Running in place.

[00:48:58]>> Just like relentless.

[00:49:00]>> Yeah.

[00:49:00]>> We're going to get to our first question. Uh this is from Frederick Barry asking, "How did you join a touring band at such a young age, which you talked about a little bit." Sure.

[00:49:10]>> And what road map took you from a beginner drummer to a recording musician?

[00:49:15]>> There's no road map. I got thrown into the pool. I think that the the answer wanted from that question is like a stepped out answer, right? Like I I played I played till my hands bled and then I you know and and unfortunately like that's not my story. And I think >> I do think there's a there's a path that way. you know, play around town in the bars and then >> maybe a national touring artist comes, it would be a better story. Maybe a national touring artist comes through and sees you and they're like, "That kid's sick." Like, and you got to play live with him and then you sat in and watched the studio drummer play and then they let you play. Like, I'm sure there are those stories.

[00:49:54]>> Um, >> and it feels like a better path.

[00:49:57]>> I mean, for you it sounds it sounds like you were playing with people and meeting people all along the way. Yeah, >> obviously you were practicing or playing >> and learning through that. Um, but probably for this student, I don't know if you're playing live or uh just at home, but uh for your path, it's probably moving from playing at home to playing with people >> and seeing where that takes you.

[00:50:18]>> To be honest, I never really played at home. Um, I grew up, um, I grew up financially unfortunate and so I didn't have, you know, we talked earlier, my dad traded a job at one point for a drum kit and I had that, but we couldn't have symbols.

[00:50:34]>> So, we went and bought like tin at Home Depot.

[00:50:37]>> Yeah.

[00:50:38]>> And cut them in circles. And like my story is that like that kind of thing which sounds glamorous and it actually sucked ass >> but like it's it's cool to talk about that slum dog millionaire story where you came from nothing but the truth is that's what it was and it was frustrating.

[00:50:51]>> So I I kind of played at home some but I went right into playing with people as soon as I >> could play two and four like at church >> I went right to playing with people. So I guess my you know hearing you say that and my biggest advice especially now because it's just such an antiqu it's becoming antiquated like you can go on YouTube and see crazy talent >> which is cool that you can you know buy a cheap interface and set up some mics in your room and but I think the most valuable thing and this sounds this dates me as a human but like playing with people is is what really makes you good >> I think because you play with one bass player who is way behind the pocket and he'll pull your ass back.

[00:51:35]>> Yeah.

[00:51:35]>> You know what I mean? Like he'll >> he won't he won't waver if he's good and he's behind the beat.

[00:51:41]>> Yeah.

[00:51:41]>> He'll pull you in.

[00:51:42]>> You play with a bass player who's energetic and rushes in that good way, that rock and roll way, and you'll meet him, you know, or you'll you'll work with a singer whose phrasing is so differently. And I think that's the that's the most valuable thing. It's a difference between like to me it's like running on a treadmill is great, >> but then you get outside and you're like, man, there's a hill.

[00:52:01]>> So much better.

[00:52:02]>> Yeah, it's better, but it's different.

[00:52:04]There's a hill.

[00:52:05]>> Yeah, >> there's a >> Oh, there's bird [ __ ] I got I want to run around that. There's like 17 people up here sightseeing. I got to go. And that's what playing with people is versus playing by yourself, I think.

[00:52:15]>> Yeah. There's nothing like having to interact and having to move with whatever happens because you don't know what someone else is going to throw at you.

[00:52:24]>> And people go and people to that question to that statement, people go, "Well, there's a click track."

[00:52:28]>> It it doesn't matter. People still do things. There is so much space >> between the beats that you you're not aware of when you first start out.

[00:52:37]>> Yeah.

[00:52:37]>> When you first start playing to a click or recording yourself, >> you're like, "Oh, it's 1 2 3 4 1 2 3 4 5 whatever you're playing to." and you don't realize how I think a drummer's feel is that space between the beats.

[00:52:49]>> That's where someone's style is.

[00:52:52]>> You know what I mean? Like that's where style as a drummer comes in. And that's where your identity as a drummer comes in. M.

[00:52:57]>> So, if you want to take that path and be a touring drummer or recording drummer, you just got to play with people >> because no matter how good you are in front of this camera and your interface, it's not going to be the same when you get in a studio with real hum even if the humans have pre-recorded it.

[00:53:16]>> Sure.

[00:53:16]>> It's going to be different. It will be different.

[00:53:18]>> Yeah.

[00:53:18]>> Like that's my thing. I just want to be able I I've always wanted to be a chameleon where you can throw me in a situation and I can I can succeed.

[00:53:25]>> Yeah. That's the hardest thing I think.

[00:53:28]>> It's great advice, man. Um, let's jump to another track from Chasing Safety.

[00:53:33]We've got I'm content with losing. What can we expect from this one?

[00:53:37]>> The We don't play the outro at all like the record version. So, I just don't I Here's what I expect. [laughter] I expect just find out.

[00:53:46]>> I [snorts] love it. I live for this, man.

[00:53:49]>> Yeah, [laughter] you're a sick man. You just sit there in your chair.

[00:53:53]>> It's so good. Dance for me more.

[00:53:55]>> Hey, I've been there. I've been there.

[00:53:57]>> I know. I know. [laughter] I know.

[00:53:58]>> I feel your pain, man.

[00:54:00]>> It's not pain. It's just, you know, >> Well, every once in a while, it's pain.

[00:54:03]>> After a while, you do things differently live. It just, like we talked about, it just happens, you know.

[00:54:07]>> There's beauty in that, man.

[00:54:09]>> Here we go.

[00:54:12][music] [music] I [music] am worthy [music] to be Now we say again [music] halfway. [music] [music] Heat. Heat. [music] [music] >> [music] [music] >> Leaving us behind your eyes.

[00:55:32][music] No idea.

[00:55:41][music] [music] [music] [music] Heat. Heat.

[00:56:15][music] Heat.

[00:56:21]Heat.

[00:56:24][music] [music] Heat. Heat.

[00:56:36][music] Heat. [music] [music] [music] Heat.

[00:57:06]Heat. Heat. [music] [music] [music] Heat.

[00:57:26][music] [music] Heat.

[00:57:44][music] >> [music] [music] [screaming] >> halfway.

[00:58:02][cheering] [screaming] >> I love that in so many of these songs, and I think you really start to notice it on this record, how much you avoid just the two and four. There's always some kind of interesting backbeat pattern or you're just on the rack tom like no snare whatsoever. Yeah, >> it's cool.

[00:58:18]>> Yeah. I don't know. I was just >> It's different.

[00:58:21]>> I think my whole thing has always been >> how do I make something that I've never heard?

[00:58:26]>> Yeah. Uh we're going to do a second question from a Mora student. This is from Scott Yos. Hopefully I said that right. Uh any advice for how to play the drums and sing at the same time?

[00:58:37]>> It's sort of just the jump off the bridge thing, dude. I have this weird like mental thing that I do and I don't know how to describe it very well. I notate the vocal parts with the drums a little bit.

[00:58:49]>> Like if you think about like the song we just played and I'll play quiet so we can still chat. But like >> this is what I you know the outro of that song.

[00:58:57]>> Yeah.

[00:59:01]>> You know what I'm saying?

[00:59:02]>> You're sort of playing it.

[00:59:03]>> Yeah.

[00:59:06]>> You're sort of playing.

[00:59:08]It's not exact, but you're sort of playing it. So, I connect those two things in my mind, if that makes any sense.

[00:59:14]>> So, you're starting with vocal and then emphasizing with the drums to >> Yes.

[00:59:19]>> to line up with >> It's usually like uh uh if that makes sense. And I don't use like a mic that's here or anything. So, I do this.

[00:59:25]>> That's been the hardest thing about the last two days.

[00:59:27]>> Yeah.

[00:59:28]>> Is a lot of this stuff normally if I'm playing >> I'm doing it like this.

[00:59:35]It feels more comfortable this many years removed >> for me to to play that pattern >> like this.

[00:59:42]>> Yeah.

[00:59:43]>> This was odd just now. I've never done that before. Ever.

[00:59:46]>> Yeah.

[00:59:47]>> It was [ __ ] weird.

[00:59:48]>> Yeah. The singing component has become like >> like a fifth limb.

[00:59:52]>> It's become a piece of the drum performance. So, you got to get it like you got to get it like that. Yeah. Like you got to make it feel like like I find myself and this is a this is a really weak spot I have as a player when there's no vocals >> and inevitably there's time when the times when there's no vocals like if we're in a long rehearsal for days like a pre-production we're not singing every time.

[01:00:13]>> Yeah.

[01:00:13]>> Because it's bad for you.

[01:00:14]>> Yeah.

[01:00:15]>> You know what I mean? We'll sing it through once or twice a day and that's it. And then [clears throat] but we might have to play something four or five times and I [ __ ] the songs up [laughter] >> because I'm so connected. Like if that vocal wasn't in that track, it I would be lost. Yeah.

[01:00:29]>> Which is is odd. So you almost have to make it like that, like you said, like that fifth limb. And I think the best way to do that is literally just to jump off the edge and just do it.

[01:00:39]>> Do it until you can't not do it. You know what I mean?

[01:00:41]>> Like which is unfortunate.

[01:00:43]>> Yeah.

[01:00:43]>> It's an unfortunate piece of advice. I wish I was I wish there was like, well, you're going to play six stroke rolls on a pad while you chew gum [laughter] like and then you're going to light a cigarette with your left hand and it's going to you're and then you'll be able to do it. It's just there's no it is a trial by repetition.

[01:00:58]>> Yeah. And probably even I don't know if this person has a microphone or whatever beside them, but even just to sing, not worrying about leaning into a mic, just sing and play facing forward or something.

[01:01:09]>> Yeah, that might help. I mean, this is this is real nerdy, but if I like we just did this cruise and we did three separate shows >> with no repeats. So, it was 50 songs or 48 songs, >> dude. And a lot of them we haven't played in ages or under oath made a record without me. Some of them were from that. Thank god I didn't have to sing on those. But >> we I set up an interface >> and I'm not a habitual practicer. I'll just be the first to admit it. But I set up an interface with the drumless tracks and took out a vocal mic and ran it through that same interface and sang and played it all like that instead of just like because if I if I look at it as one thing, it's just a different animal.

[01:01:49]>> Yeah.

[01:01:49]>> Like it's just not the same animal. So I I if you're going to turn your head and do it, do that. Yeah.

[01:01:55]>> All the time.

[01:01:56]>> Like I am now sickly more comfortable with my head turned in certain sections, >> you know, and it's and it's a case by case basis. There's you shared with me at lunch the some of the songs we're doing today. Some of them I don't sing on at all.

[01:02:08]>> Yeah.

[01:02:08]>> So it's like >> it would be weird if I had to sing.

[01:02:10]Yeah. It would be like I don't know how to you [laughter] >> don't give me that one, man.

[01:02:15]>> Yeah. It's a thing, you know.

[01:02:17]>> Yeah. That's great advice. Uh we're moving along. Uh the next two tracks we're going to do are from Define the Great Line and Lost in the Sound of Separation. Quickly, let's just talk about um your the band sound changed at this point.

[01:02:32]>> Um can you quickly talk about why that happened or what the the direction was?

[01:02:37]>> We were always like this violent bombastic live band >> and Chasing Safety was a a poppier departure. We love it. We love those songs, but we behaved like a post hardcore band on stage and we behaved Yeah. like you see Under Earth behaving now when we were playing Boy Brush Red >> or the song you just heard, right? Like you see me play it and it won't be much different.

[01:03:00]>> Yeah.

[01:03:00]>> Than these next heavier songs you're going to pull up. I don't know what they are, but they will be my body language and stuff will be the same. So I think the the the short answer to that question is we wanted again this was 2005 2006 when we made to find the right line and it wasn't like home recording was really primitive you know I think you had you had garage band you could get pro tools then but you had to buy it outright there was no subscription thing >> microphones were expensive and it was just the technology there was so so few plugins compared to what there are now >> like you can buy a plugin now called the God particle and put it on your master bus and it sounds like you're Rick Rubin or something. You just did it. You know that [ __ ] didn't exist.

[01:03:42]>> Yeah.

[01:03:43]>> So, we wanted the band to sound like it felt live. Does that make sense? We wanted a better representation of what because first and foremost, let's be honest, like >> people that like Under Oath, like >> they that's they listen to the records.

[01:03:59]That's great. But people like Under Oath, most people got into Under Oath because of the live experience.

[01:04:03]>> Yeah.

[01:04:04]>> There wasn't Tik Tok. There wasn't Instagram. We got in a van and you'd go to Omaha and there's three people and then there was 40 people and then there was 100 people. You know, we did that hard boots to the ground work.

[01:04:13]>> Sure.

[01:04:14]>> So, we wanted the band to to sound like we felt live.

[01:04:19]>> And so, I think this is and it wasn't like we got in the studio and said, "Okay, so I want a headbang more. So, we should like that. That wasn't that wasn't the thing. It was more like we feel this way when we play together. So, how do we >> capture that on tape?" And that's kind of what it is, you know.

[01:04:37]>> Yeah. I think a lot of people think it with bands that have an evolution in their sound. They think that it is they had a board meeting or something and they're like for this record we're going to go this direction and maybe sometimes it is like that.

[01:04:48]>> I was going to say I bet I bet I mean maybe that maybe that's a thing.

[01:04:51]>> Yeah, maybe.

[01:04:52]>> I don't know. Um, but it seems to be, I don't know, more common than not that your interests and tastes and the band working together for more and more years, uh, there is just this natural progression into whatever direction that is.

[01:05:06]>> Yeah, it happens. If you're honest with each other, it happens. And you're honest with yourself.

[01:05:10]>> Love it. Okay, so the next two tracks we're going to do uh, in regards to myself and we're going to go back to back with Breathing in a New Mentality.

[01:05:19]Aaron has no idea that he was going to be doing any of these. So, >> yeah, this is uh all off the cuff.

[01:05:25]>> At least you're telling me.

[01:05:27]>> Yeah, we could just start the click track and then >> Dude, I No, I've we have we have slates on our sessions like it's some like most songs unless they're buted up to each other will tell you the name of the song. Yeah.

[01:05:37]>> And I've had moments live where the set list is ripped off or something. Yeah.

[01:05:41]>> And you're just like, >> "What's next?"

[01:05:44]>> And it tells you, "Thank God." And then when it doesn't, I've had it when it doesn't and it started and I didn't know. I just was like I would just keep time until I was like, "Oh, it's that one." Dumb stuff.

[01:05:53]>> Well, let's uh let's do both of these in regards to myself and breathing in a new mentality.

[01:05:57]>> Let us go.

[01:05:58]>> Let's do it.

[01:06:01][music] [music] Yeah.

[01:06:13][music] You [music] are you [music] together?

[01:06:44]Yeah. [music] Heat. [music] [music] There [music] we are.

[01:07:12][music] Why you so [music] All right.

[01:07:25][music] [music] You Yeah.

[01:07:47][music] Heat.

[01:07:53][music] Heat. Heat.

[01:08:00][music] [music] Heat. Heat. [music] [music] Yeah.

[01:08:22]Heat.

[01:08:24][music] [music] America.

[01:08:39][music] [music] [music] Heat. Heat.

[01:09:06][music] >> [music] >> Fire.

[01:09:25][music] [music] [music] Yeah.

[01:09:47]Now I can't [music] [music] [music] say Heat. Heat. [music] [music] Yeah.

[01:10:27][music] [music] trying to be [music] out [music] [music] [music] Heat. Heat.

[01:11:04][music] [music] I love [music] [music] again.

[01:11:32]>> That is crazy. That one's wild.

[01:11:36]I'm just look I'm looking at all the the crew in the control room and I'm just here and what you were just talking about about translating like the live experience >> the record like you can feel that and I know I'm sitting right here but with the parts and like even just what you're playing it translates. It's tough to explain.

[01:11:57]>> Yeah. It's like a thing you It's just that space between the notes thing >> and it's it's so different from Chasing Safety before.

[01:12:07]>> Yeah. This is two that particular song is two records later, >> but the one before is one.

[01:12:11]>> Yeah. But both of those like there's there's like a notable difference.

[01:12:15]>> Yeah.

[01:12:15]>> So, >> you know, we were Boots to the Ground.

[01:12:17]That's how we started. So, we had played so many shows between those two albums.

[01:12:23]>> Yeah. You know, we got our first taste at like large crowds >> that summer on Warp Tour after Chasing Safety. We >> It became like a We got better at it.

[01:12:33]>> Yeah.

[01:12:34]>> You know, which is nerdy, but it's true.

[01:12:37]You know, you just get better.

[01:12:38]>> Yeah.

[01:12:38]>> If you're not Spencer always says this, and I It's so simple, but if we're not getting better each record, what are we doing?

[01:12:45]>> You know, and better doesn't mean bigger or more views or clicks or >> Yeah.

[01:12:51]Are you getting better together? You know, are you are your is your songs more interesting to you? You know, whatever. Are you achieving your goals?

[01:12:59]You know, >> yeah, >> musical goals.

[01:13:02]>> Love that. All right, we're going to move to some of the newer stuff now.

[01:13:05]Kind of in like the last section of this. I'm sure the fans are just loving this.

[01:13:09]>> Someone water me, please. I'm dying.

[01:13:11]>> More water. Actually, before we talk about the new stuff, I'm going to ask the the last question. Uh this is from uh Dylan 561. You kind of touched on this, but um when you write records, what comes first? The melody and the riffs or the drum parts?

[01:13:28]>> All of the above. There's no rules.

[01:13:30]>> Like I'm a weirdo. I like to write songs from titles.

[01:13:34]>> Okay.

[01:13:35]>> So, and that kind of dictates, you know, is this a darker thing? Is this a lighter thing? Is this a, you know, and then under oath like habitually overwrites.

[01:13:48]So like we'll make like 10 parts for one section before we land on it. And sometimes you don't there's just there's no rules to that >> you know like define the great line lost in the sound of separation was all music first and then the vocals come later.

[01:14:02]Chasing safety I don't remember and then the later stuff you know I was really getting into. So I was really you know from like 2012 13 is when I really started writing songs with other people and for other people. Um, so when we started making records again in 2017, I wanted to approach Under Oath more like maybe we write from a title, maybe write from a melody and that model um, works sometimes for under oath and sometimes it doesn't.

[01:14:31]>> I think we are at our best when the music is >> is intricate as we want to make it and then we put a vocal on it. But there's no rules. That question is hard to answer because there's >> there's not really a rule to that. You know what I mean? It's like >> however you get there. Like I have this saying that I love and I don't know who I got it from, but it's song is king.

[01:14:49]>> Like whoever plays whatever, like I am fully at a place in my life now where and when you're starting out this is difficult, but I'm fully at a place in my life now where if you were in Nashville at the studio and we were recording an under oath record and you're like, Aaron, if this is five and you sat behind the drums and it sounded dope, I'd be like, push play, push record, do it.

[01:15:08]>> Like I that's where I'm at. I just want the end thing to be exactly what I want to hear come out of the speakers and I don't care how I get there. You know what I mean? Like there's no when you're younger it's like well I wrote this drum part and I want to put it there.

[01:15:20]>> Yeah.

[01:15:21]>> You know, you're like we're all like that, right? You're like I wrote this lyric, you know, about this thing that really affected me 10 years ago and it's like it's everyone else thinks it's cheesy.

[01:15:30]>> So like >> go back to the drawing board or let this other person do it. Like you got to be okay with those things. So, drums or vocals >> first, it doesn't matter. It's like whatever is the best like for the song, you know, like how do you how do we get there? How do we get to the top of the mountain with everybody's arms and legs intact?

[01:15:49]>> That's all that matters.

[01:15:50]>> Yeah.

[01:15:51]>> Awesome, man. Well, let's do these next two tracks and then we'll wrap things up and do one more at the end. But this is Hallelujah. And then we'll go right into Generation No Surrender.

[01:16:04]Heat. Heat.

[01:16:14][music] Heat.

[01:16:25][music] Heat.

[01:16:31][music] >> [music] >> how it meant [music] to feel the echo [music] through my face.

[01:16:54][music] Yeah. [music] [music] Heat.

[01:17:13][music] Heat. Heat. [music] [music] Heat. Heat. Heat.

[01:17:43]Heat.

[01:17:46][music] Heat.

[01:18:00]>> [music] [music] [music] >> yourself. We're not dreaming. This is This is [ __ ] [music] [music] [music] yourself. Heat. Heat. Heat.

[01:18:59][music] Heat. Heat.

[01:19:11][music] [music] >> [music] >> We're running out of time.

[01:19:31]Where we go?

[01:19:35][music] [music] Heat. Heat.

[01:19:54][music] >> [music] >> What the [ __ ] do you [music] [music] Watch it.

[01:20:30][music] [music] There's nobody coming down. If you bury me, I'll bury you [music] in my mind.

[01:20:49]>> [music] >> the target.

[01:21:00][music] [music] I will make you versus [music] man.

[01:21:46]>> [laughter] >> We're leaving the brutal stuff till the end.

[01:21:50]>> It's fine. It's fine.

[01:21:51]>> It's almost like um that's like the closest to the first two EPs of everything we've done today.

[01:21:58]>> Back to the roots.

[01:22:00]>> It's heavy.

[01:22:01]>> Yeah, man. I've taken my ears out a few times just to listen to the kit and it just sounds insane.

[01:22:07]>> Dude, I want this drum kit.

[01:22:09]>> That we've only brought that kit out for uh >> You said the Spin Doctor.

[01:22:12]>> Yeah, Spin Doctors. Aaron Comz, uh, which his stuff is coming on the channel soon. But yeah, man, this is like an 80s recording custom.

[01:22:19]>> I think it's my birth year. I want to look up the model number.

[01:22:22]>> Well, you can't take it home, so >> I'm aware.

[01:22:24]>> Yeah, >> I live three days from here. [laughter] >> You're going to be walking. Horse and buggy back.

[01:22:30]>> [ __ ] pull it in a wagon.

[01:22:32]>> Dude, we're uh we're almost at the end.

[01:22:34]This has been a blast.

[01:22:35]>> We did it. We went right through it.

[01:22:36]>> You played all the parts.

[01:22:38]>> You didn't You didn't attack me for making you play these songs. Have you ever had anybody get mad at you?

[01:22:43]>> No. Everyone's so nice.

[01:22:45]>> You're so lucky [laughter] again.

[01:22:48]>> Oh man. I mean, it's nice. You're like a one take wonder, man. And it's like >> raw and chaotic in all its beauty. And >> man, this is a special session for sure.

[01:22:59]I'm so glad we could do this.

[01:23:00]>> Dude, I'm so honored to be here. It's um it's been so so fun.

[01:23:04]>> I'm sure there's gonna be lots of people watching this on the channel. Is there anything you want to leave them with?

[01:23:08]Any parting words? No, I mean, if you're a fan and you've been a fan for a long time, thank you for doing it. And if if this is your first time, thanks for watching. You know, I think that there's so much going on right now. There's so much [ __ ] out there. You can you can just any day you can find something new. So, if you're watching this, it means the world. So, >> love it. And once again, thank you to all of our Mora students who submitted questions. Uh you can do that for all of these streams that we do here on the channel. So, if you're not a member, there's a free trial down in the description and uh we'd love to see you over on Misora. Aaron, we're going to close with one more track.

[01:23:46]>> Okay. What is it?

[01:23:47]>> A classic uh reinventing your ex.

[01:23:49]>> Oh, an easy one. Thank you.

[01:23:51]>> We figured you already did the hard work, so we'll let you off easy for a closer.

[01:23:56]Yeah, it might be boring to watch me play drums to you, but >> yeah, >> it's uh I think we made Joshu Epford play the suffering for his last track and he's like, man, that that song is so it's so like straight up all the way through. He's playing all this crazy stuff in the session. He's like, really?

[01:24:12]You want to close with that?

[01:24:13]>> Yeah.

[01:24:14]>> It's a hit. You got to do it.

[01:24:15]>> Yeah. It's like it's I get it.

[01:24:18][laughter] I get it.

[01:24:20]>> We're trying to make everyone happy here. So, if you like the Generation No Surrender stuff or uh yeah, the early stuff, you got it. But you get to close out with a hit. So, let's go.

[01:24:30]>> Aaron, thank you so much, man.

[01:24:32]>> Dude, thanks for having me so far.

[01:24:33]>> And thank you to all of you for watching and we'll see you in the next one.

[01:24:35]>> See you in the next.

[01:24:36]>> Cheers.

[01:24:40][music] >> [music] >> high on a Sunday.

[01:24:53]Feeling like [music] we're gone and we're nothing short of invisible.

[01:24:59][music] >> [music] >> It starts to [music] Can you feel it? It takes your breath away.

[01:25:20]Stop saying that [music] where around you body warning [music] mission for mission for [music] somebody [music] right >> [music] [music] >> This is the way I [music] get the world.

[01:26:09]>> [music] >> Whatever the world it's you [music] and me on Monday the lies that we told this is where we both [music] go now you broke my heart this [music] time you're fading now you cross the You cross the line.

[01:26:44][music] Why?

[01:26:48]Why?

[01:26:53][music] This is the way [music] I am.

[01:27:06]>> [music] >> This is the way I [music] get the world. Get the wall. [music] [music] Oh my [music] god.

[01:28:00]This is the way I [music] see you.

[01:28:12]This is the way we should have done [music] against our world.

[01:28:23]Oh [music] no.

[01:28:30][music] Yes.

[01:28:38][music] [music] A dove.