Echolyn Q and A - ANSWERS!

We at Zomby Towers have contacted the band and they have agreed to take part in our new Q and A section!

For those of you who are unaware, Echolyn have been around for quite awhile. Starting in the late 80's, Echolyn's first album was released in 1991, and "Suffocating the Bloom" was released in the following year, an album which is now considered to be a classic of Symphonic prog. Later in 1994, they recorded "As the World" for the Sony record label, who unfortunately refused to promote them or put them on tour. The following year, the band headlined the first ProgDay in September and were unfortunately then dropped by Sony, at which time Echolyn decided it was best to call it quits and release a posthumous album of demos and unreleased tracks entitled, "When the Sweet Turns Sour" after 4 studio albums and over 250 live gigs.

In the spring of 2000, Echolyn reunited with a new studio album entitled "Cowboy Poems Free" and performed a few live shows, notably the NEARfest 2000 preshow in support of Transatlantic. Later, Echolyn returned to the studio to record what is considered to be their most musically diverse recording, 2002's "mei", a 50 minute symphonic tone poem, colored by timpani, marimba, vibes, flutes, violins and cellos.

Follow a boxed set of remastered editions of their first few albums and a live album, Echolyn returned to the studio once more to record their 2005 record, "The End is Beautiful", which then led to the bands' first European tour. After an exhausting tour, the band returned home having made a lot of fans overseas, but continued working on new material, including a piece entitled "15 Days," which was released on "After the Storm", a Hurricane Katrina survivor benefit album.

Now after 7 years, Echolyn return with a fantastic new self-titled double studio album. This new melodic, almost singer-songwriter set is an absolute joy to listen to, with highlights being the epic "Island", the Procol Harum-esque "From Locust to Bethlehem", and the somber, beautiful "Speaking in Lampblack".

You can stream the new record in its entirety here:
echolyn.bandcamp.com/album/echolyn-2012-vinyl-release-flac-882-khz-24-bit You can listen while reading!!

Official Echolyn website:
www.echolyn.com/latestnews.asp

RW = Ray Weston
CB = Chris Buzby
BK = Brett Kull
TH = Tom Hyatt

1. Tell me a bit about your individual backgrounds.
Where are you from? Where did you go to school? Where did you receive music lessons?
RW: I am Ray. I grew up in Ambler, PA. I went to high school at Archbishop Kennedy in Conshohocken, PA. I took piano lessons in the early 70’s from a nun and bass lessons in the late 70’s from some dude who lived in Conshohocken.

CB: Born into a musical family and raised in Lansdale, PA, both of my parents were singers and my mom played piano. My parents started me on piano lessons when I was 5. I also sang in my church choir for many years (age 7-16), added French Horn (grades 5-8) and Alto Saxophone (grade 4 to present) to my instrumental lessons (and was a performing member of The Philadelphia Boys Choir (a world-renown professional touring choir) for 3 years from ages 10-12. I also participated in every high school singing, instrumental and theatrical ensemble and received a Bachelor’s Degree in Music Composition & Theory and Music Education from Moravian College (PA). More recently I completed my Master’s Degree in Music Education at West Chester University (PA). In a nutshell, it's pretty much been all-music, all the time, since 4th grade!

BK: I come from a non-musical family. Despite this I genetically (through some distant relative) have always leaned towards music and been intoxicated by it. I don‘t have any formal musical training and instead use what is innate or self taught through experience.

TH: I grew up in Elkins Park PA, Graduated Cheltenham H.S. in '86 and Shippensburg University in '91. Took 2 years of bass lessons from Kenny Greenfield and Jerry's Music Center in NE Philadelphia PA from summer of '82 to Winter of '84.


2. Where does the name Echolyn originate?
CB: I personally wanted the band name to be written “e:” but Brett insisted on the “lyn” ending. (I happen to like "punny" wordplay.) Rather than being voted off the Island, I relented and gave in. ;-)

BK: I wanted a band name that didn’t have any cognitive connection to anything else. I made up a nice three-syllable word that rolled off the tongue and seemed to feel right amongst our music.



3. Who or what were your biggest inspirations to pick up your respected instruments?
RW: Well, we had a piano in our living room so I was always playing it. As far as the bass is concerned, I saw a picture of the band Y&T on the back cover of a circus magazine from around ’75-’76, the bass player had a white fender. That the first time I thought about actually playing for real.

CB: My parents were very instrumental in getting me and my two brothers started in music at an early age. We all played piano first at Yamaha Music School (aka the "Suzuki" of piano) at age 5 - and then I branched into French Horn, alto saxophone, voice and eventually focused on vocal, musical theatre, instrumental ensembles and composition/theory and recording in HS and majored in Composition/Theory and Music Education for my college undergrad degree. I also completed a Master's Degree in Music Education when I was in my 30's.

BK: The music of my childhood and before was what resounded in my ears. From classical music like Beethoven, Tchaikovsky, Debussy, to Popular music of the 60s and 70s, I listened and absorbed all of it. The Beatles were a huge part of my childhood in the 70s as well as all the AM Gold music of the late 60s and the decade after. I could sit for hours noodle-ing away on the piano even before I began learning guitar.

TH: In 8th grade after hearing "Moving Pictures" from Rush, "School Days" from Stanley Clarke, and "Number of the Beast" from Iron Maiden, I became interested in the bass as a powerful musical voice. The first album to really influence me and make me really want to be a bass player was Led Zeppelin's live album "Song Remains the Same." I'm still blown away by John Paul Jones grooves and his chemistry with John Bonham. Of course countless other bass players have influenced me over the years: John Entwistle, Paul McCartney, Chris Squire, Mike Rutherford, Jaco Pastorious, Tim Commerford, John Deacon, Stevie Wonder's synth bass lines……(too long to list).



4. What drove you to begin composing music of your own?
RW: I was never that good at playing other people's music.

CB: I just never fully enjoyed playing other people's music. It always felt limiting (and occasionally boring) as there was not much in it invested for me personally - unless I was coming up with a crazy or radical arrangement of my own - but then most cover bands never did that because the people who were coming to see a cover band usually want to hear a song played in its original form. When I joined echolyn in 1989 the fact we all wanted to write and play original music was the MOST important aspect of why I wanted IN! I absolutely love the compositional process. It's magical, difficult and "maze-like" in that you usually enter a song at one spot - but rarely have any clue where you will eventually end-up. I live for that adventure and sense of accomplishment when you know you've created something special like a brand new piece of music.

BK: As I mention above, in those hours of playing piano I’d compose my own songs or improvise looking for cool note combinations. I didn’t know what I was doing but as a very young child I knew what I liked and would try to attain some sort of empathy with the instrument.



5. What does everyone do outside of Echolyn?
RW: I have two jobs with two Event Security companies and am about to go back to school for my next step in life.

CB: I am a full–time music teacher at a K-12 Private Quaker Co-Ed Day School in Jenkintown, PA, named Abington Friends School. I start my 17th year this coming September and I love my job. I am Director of Instrumental Music and the 7th Grade Dean, which means I direct all of the band instrumental music ensembles (concert bands and jazz ensembles) from 5-12th grade as well as teach a Digital Audio course and several small ensembles: Drum Circle, Electronic Music Ensemble (e:me) and Jazz Combo. As Dean I lead a team of ~20 teachers and am the go-between for families and the school. I also have a private roster of weekly lessons/students to whom I teach private lessons in piano, composition and saxophone.

BK: I own my own studio production business to record artists and create music. I also teach at two Universities (one in Pennsylvania and the other in Delaware).

TH: I work in clinical research, writing and negotiating patient informed consents for experimental studies.


6. In the present perspective, how do you assess the artistic achievements of the "Suffocating" and "World" albums, which are the most praised from the band's first era?
CB: I've never looked back on anything we've released and regretted it. I sometimes wish we had taken tempos slower or faster and of course I laugh at the parts I wrote in my 20's that I thought were so challenging and hard to play and find most of them fairly easy to play now - but that's only because I've always required myself to progress in life, just as echolyn does with its musical output. Every album captures a time-period for us as people, musicians and friends. I love listening back to each album and reliving "where we were" at that time in our lives. To truly progress one shouldn't harp-in or hang-onto the past; I can honestly say that we have never done that as a band. I am very proud of that fact - even though it has cost us some criticism over the years when people say our sound has "changed." IT BETTER HAVE, because as people we have changed. We are molded by what life has taught us and challenged us with. We then channel those things back into the music we create. Thus, you get the music that is always 'honest echolyn' at the moment it is conceived and written.

BK: I can look back on those albums with fondness. “Suffocating The Bloom” has an original sound to me, albeit naïve, but still intentional and confident. “As The World” sounds great and has some very progressive compositions. I like them both and appreciate the people who wrote those songs.

TH: While I love that people still appreciate these albums, I kind of see them as albums where we were still finding ourselves individually and as a band. It's hard for me to listen to them wonder what I would have done differently.


7. My introduction to the music of Echolyn was the excellent cover of Tull's "One Brown Mouse" on the Tull Tales cover disc. Can you explain how this cover came to be?
CB: Magna Carta came up with the "Tribute Album" idea back in the mid-90's around the time our Sony/Epic release came out. echolyn was asked to contribute a track for this Tull tribute album, but Tom and I had already left the band, so Brett/Paul/Ray completed the track as a 3-piece for the project.

BK: That recording was made after we took a break from the band. Ray, Paul and I recorded that for… I think Magna Carta in January of 1996… but not as echolyn. At that point we were recording as a three piece under a different name.


8. So onto the new record. Can you give me a little insight into your songwriting process?
RW: This album has everything on it. Certain songs have elements of old echolyn and then you have “head right” and “past gravity” which show off a more mature approach to our writing.

CB: My "4 rules of engagement," when it comes to songwriting:
1. Write songs that don't suck.
2. Write songs that are unique, original and truly progress beyond where we've ever been before.
3. Write songs with both music and lyrics that have true, honest meaning and melodies that make a listener want to hear them more than once (preferably thousands of times).
4. World domination.
3 out of 4 ain't too shabby! ;-)

BK: Find and discover a song and get out of the way! We’d generally get together with some ideas and see how they’d pan out. If something resonated with us we would pursue it to see where it took us. Because of the amount of time it took to write these songs we had hindsight on our side. This gave us a perspective you’d normally not have.

TH: It really varies from song to song. Some songs germinated from a single riff or instrumental verse. Other songs were almost entirely realized by the individual writer. Many nights we showed up at the studio with no idea what we were going to come up with.


9. It is a powerful thing to start an album with a very long track, which is what happens in "Echolyn 2012". Was it a conscious musical decision or it just happened to "feel right"?
CB: We did not have concensus on this for a long time. In fact, I brought what became the final track running order to the guys the day we were planning to listen down to the final mixes...so the final decision was really 11th hour. Each album is different. This album needed to flow right, but it also had to "fit" correctly in pairs of 20 minutes or less - in order to fit on the 4-sides of vinyl. We also knew we did not want different track orders on the CD and the vinyl. So play with feel and numbers we did. Island was originally going to be last....but it's such a damn great song and makes such a statement that both Jacque (Brett's wife) and I kept pushing for it to open the album. In the end it made total sense. Naturally, it then had to be paired with Headright (which originally was going to be second-to-last)....which then pushed Some Memorial (the early opener favorite) into the clean-up-slot, "batting" 4th. Voila! We finally had an album, and an album running order, that flowed, made sense, and most importantly, did indeed also "feel right."

BK: It was a conscious decision. We initially wanted to close the album with it but my wife and Chris lobbied for it to be the first track. It works for me.

TH: The song sequence on the album was very deliberate and the subject of great discussion and debate among us. I personally had a specific and different preference for the order, but in the end I was pretty thrilled with the end product.

10. In your opinion, how does the new album compare with your works from previous albums?
RW: Picture a young kid fumbling around with his first girl. You can’t really focus on a single part at a time, rushing pass the lips to touch the breast, ignoring the breast to get to the promised land. Kids. Now as men we know how to work each part for what it’s worth before moving-on. There is no rushing or banging on this album.

CB: Best one yet....oops, did I just type the word yet? ;-)

BK: It’s a song album with wonderful melodies. There is no “banging” evident on this record. Tasteful, restrained, deceptively simple but deliciously deep and harmonically complex.

TH: I think this is our most well thought out and best imagined collection of music. It's first album that I have been a part of where I can listen to for my own enjoyment as a fan.

11. "Speaking in Lampblack" contains one of the most beautiful melodies I've heard in a long time. What was your inspiration behind this, if you don't mind me asking?
CB: I'll let Brett answer that one since he wrote the words and melody - however, I will say that I LOVE writing string arrangements and bringing that part of my musical ability to the band as often as possible is something I love and am challenged by. Two of my rules when writing arrangements: avoid the cliche AND go somewhere special and different, not expected. This song offered me so many great moments to come-up with adventurous, but beautifully powerful, string parts because of the space and energy we captured on the original tracks. I consider the string arrangements on this song, and this album, to be some of my best arrangements, to date.

BK: Thanks for saying that. I worked very hard on the vocal melodies. This song is about communication and not being able to do so when needed. It’s about being heard… but too late. I used Edouard Leon Scott (the nineteenth century French inventor) and his invention, the Phonautograph as a sort of inspirational metaphor. His invention recorded sound waves on Lampblack scrolls before Edison’s Phonograph. Scott couldn’t play the sounds back in the 1860s. It wasn’t until 2008, some 140 years later that his sounds could echo into the present age and be played back with modern technology.


12. What was your favorite thing about working on the new album?
RW: Believe it or not, it was the winding-down time after the sessions. Gloating like proud papas at what we had written.

CB: The challenge of trying to finish it and making sure it was the best possible collection of songs we could both release AND be very proud of. It was also very satisfying working with my bandmates to push ourselves out of our comfort zones to write, perform and stand behind every note, melody, lyric and part. After over 75+ listens I still don't regret or question anything about this album.

BK: Finding new ways to make music with old friends.

TH: My favorite thing is that we were able to take the time to try numerous ideas as a band and individually. In many instances the songs had been completed and we decided to scrap that particular arrangement because we knew the song had much greater potential. Every last note on the album is deliberate and the best of many ideas.

13. There's a lot of wonderful string work on the new record. Where did the string players come from and who wrote the parts?
CB: As I mentioned above, arrangements and additional parts for winds, brass, strings, aux percussion, etc are something I have been very lucky to get the support from my bandmates to bring into echolyn. My comp. and theory background, coupled with being a conductor and arranger for the many ensembles I direct at school, naturally makes this a place for me to continue expanding my own arranging skills and knowledge. The trick is to bring those arrangements into total harmony with the song that is already there - without stepping on it, changing it (too drastically), all while celebrating and bringing out additional elements that take the song (lyrics, melodies and harmonies) to a brand new level. It's a very delicate balance that I love facing each time I write an arrangement.

For those curious, here's a birds-eye view into how the "arrangement process" usually plays out:
My process for writing arrangements involves getting rough mixes from Brett for the tunes we envision additional parts and/or arrangements. Sometimes I've already played "string parts" via samples on a keyboard that I then tweak in the score writing program, but most times I start from scratch to make sure the arranged parts I'm writing are stylistically appropriate for string players - not a keyboard player. I sit with headphones and listen to the mixes, singing quietly to myself the parts I hear for each additional part. I then enter each part into Sibelus (a score-writing program) on my laptop - which allows me to hear each part "stack" or in "solo." I then sync-up the rough tracks with the Sibelius score and press play to hear them played-back in realtime using soft-synth samples to replicate what will eventually be the real instrument(s).

The parts are eventually printed and sent to the musicians we are hiring to play them. For this new album the string quartet included my teaching colleague Lori Saidi from Abington Friends School, along with her husband and two friends of theirs who play as a quartet and sub for professional orchestras and other local ensembles in the Philly area. We rehearse each chart a few times with them wearing headphones (one ear on to hear the track, one ear off to hear themselves in the room for acoustic tuning purposes) - and away we go. We usually double and triple track each take so the sound is bigger and also so Brett has multiple takes to use and choose-from when mixing.

It's a challenging but incredibly rewarding process that I love and hope to bring to future echolyn releases, as I feel it also separates us (in a good/unique way) from other groups who don't bring those elements to their music or album releases. The textures and timbres of adding additional instruments also creates sounds that are near-impossible to replicate (in terms of the acoustic overtone series) with sampled sounds.

BK: Chris does the orchestration for the band because he knows how to write music quickly. He also has excellent ideas and can create wonderful melodies to enhance the intent of the song.


14. What expectations did you have regarding the critical/commercial response to the album and have these been met/exceeded?
RW: We know there is a solid fan base that we will always be able to tap-into. What amazes me is the amount of new fans each album reaches.

CB: Bottom line: WE have to all love every album we plan to release first...if we don't, then it doesn't get released (6 additional songs written for this album were not included in the album release). After that it's wavy-cool-gravy if people care to buy and listen to it. We've been blessed to have a fanbase around the world who does care, and thus each album release becomes the best self-fulfilling prophecy ever!

In terms of numbers: I'd love to sell 15,000 copies of our new release.
We're actually well on our way to that goal.
If we get past 10,000 in sales we can definitely consider another European tour and a bunch of US shows to support the release....perhaps as early as next spring/summer.

So please keep telling your friends about us, please - and send them to echolyn.com or bandcamp.com or cdbaby.com to buy or download a copy!

BK: The response has been overwhelming and undeniably positive. It’s such a wonderful thing to have something you worked on for so long be embraced and loved by so many people.

TH: Because of how long it took to make the album, I was a little worried that the expectation would outweigh the final work. To the contrary, the response has been very overwhelming. The obsessive attention to detail really paid off.

15. What is the song you are all the most proud of?
RW: Mei

CB: Each album always has at least 1 or 2; some have more.
At the same time I love all of them - as they were all birthed with love.

If I had to choose, here are my current faves, in reverse album order based on release date:
echolyn/2012: Island, When Sunday Spills and The Cardinal and I
Single track: 15 Days (Hurricane Katrina track)
TEIB: The End is Beautiful and Heavy Blue Miles
Mei: Mei ;-)
Cowboy Poems Free: Human Lottery and Brittany
Sweet Turns Sour: The Currents of Me and 100 Diversions
ATW: As the World, A Habit Worth Forming, Audio Verite, Uncle, Best Regards
...blossom: Ballet for a Marsh
Suffocating: Suite for the Everyman and Here I Am
echolyn/debut: Shades and Carpe Diem

BK: I think all of these deserve some praise for their uniqueness and structure. I honestly don’t have a favorite because I poured a lot of sweat and time into each one to make them what they are. They all have something that draws me in.

TH: It changes every week for me. If I were to pick one I would say "Some Memorial." The song has such an intense build that is very satisfying to me. The headiness of Ray's lyrics really take me to another place.

16. A number of reviewers have pointed out that the new album bears elements from the previous three. When you listen to it from the creators' point of view, do you agree with this specific perception?
RW: Yes I agree. Like I said, as we have aged we have trimmed the fat. We can now get to the point without a whole lot off fluff.

CB: I actually have said the same thing. I think this new album is CPF meets mei on a dark deserted highway with an occasional hand-full of TEIB, thrown in for good measure.

BK: For me the album sounds like us, so of course it’s going to have similar elements or characteristics or our past. We build upon what we’ve done with new inspiration and concepts.

TH: I think you can say that about any band. It comes down to the fact that we are who we are and there will always be elements that are unique to our style. Of course, I feel this album is a progressive cumulation of our experience a s band.

17. I have two questions to Chris: "Echolyn" is a double, although would have fit a single disk. Is it because you wanted to create A/B -sides illusion or perhaps just to make it easier to digest? Something else? Whatever the reason, it works just fine for me, I like the concept! Also, any chance for another European tour?
CB: Technically the 71 minutes of music on this record we released COULD fit on one CD – however we thought the listener deserved a break between disc 1 and disc 2; thus the double-album concept and release. The CD release also ties closely to what you hear when you play the vinyl, which is (at the minimum) short stops between each of the 4 sides as you flip the record and give your ears a break from each set of two songs per side. Space and time to process is something we, as a society, need more of; it was our gift to listeners with this release. As for Europe - we'd love to get back across the pond again! It all depends on the timing and the cost/ conversion rate!! Never say never....because we don't! ;-)

BK: This concept of a double album is something I wanted to do from the beginning of the project. What I mean by this is has nothing to do with an inordinate amount of music, filling two CD to their maximum means. It means instead following the vinyl tradition of a limitation of time per/side, i.e., less than 20 minutes. In the past, sitting down and listening to a record was kind of cool because each side was generally 15-20. To me this leaves you with the feeling of wanting more or taking a break. Either way, you have an option. Each CD is a perfect reflection of this scenario. An album should be formulated upon a vibe and flow of music not it’s length of content. Too much is just too much. Seventy-one minutes of music is a lot of music to digest, we just divided it up in a perfect way to make you want more rather than take a break.


18. One of the trademarks of Echolyn's musical vision is the use of extra background (be it a string ensemble, reeds, woodwind, etc.) whenever it is needed. Does the band have any sort of "guideline" to determine when this extra instrumentation is needed?
CB: No hard-fast guidelines except to always listen to where the song is taking us. If someone says: "wow, a cello part would sound great here"or "what about bari sax doubling that LH piano line"....then it becomes an artistic decision as to whether we want it, the song needs it or could use it as a new texture or part, or both.
BK: One of us just suggests an idea for an “extra” instrument and we see if it works. I love interesting textures like woodwinds, brass and strings. They really are timeless and organic.

TH: There's really no guideline. It really goes with the writing process of each individual song. We will usually listen to the basic instrumental band tracks and will say "Hey! you know what would sound cool here...?"


19. I highly enjoyed "mei" do you think you will ever write another epic like "mei" in future?
RW: If we do, we will need 10 years between albums to write it.

CB: We didn't know we were going to write mei when we did. It just kind of happened. At the 20-minute mark we knew we were onto something kinda big...so we rode the musical wave and it took us to 49 minutes and some seconds. When it was done, we knew it was done. I guess the real question is do we have another mei in us? As always, only time will tell.

BK: I don’t think so. Why repeat yourself? It one of my favorite pieces of music we’ve made. Its uniqueness in our catalogue is one of the reasons it stands out. I’m glad you dig it.

TH: Honestly, I feel that the latest can be seen as an epic unto itself. The sequence of the album is intended to be listened to straight through much like Mei.

20. What are each members Top 5 most influential albums?
RW:
Black Sabbath: Sabbath Bloody Sabbath
Thin Lizzy: Jailbreak
Camel: Moonmadness
Pantera: Vulgar Display Of Power
Faith No More: King For A Day

CB - while they change all the time, today they are...
Pat Metheny Group: the white album (PMG)
Allan Holdsworth: Secrets
Igor Stravinsky: The Rite of Spring, Charles Dutoit's Montreal Symphony Orchestra
Radiohead: The Bends
Jonatha Brooke: Plumb

BK: Today they would be (in the rock/pop world)
The Beatles, Revolver
Elliott Smith, XO
Led Zeppelin, Physical Graffiti
Amiee Mann, Bachelor No.2
Pink Floyd, Wish You Were Here

TH: Sheer Heart Attack (Queen)
Night at the Opera (Queen)
Physical Graffiti (Led Zeppelin)
Abbey Road (The Beatles)
The Wall (Pink Floyd)

21. Lastly, what do you think is the future of progressive music?
RW: If you had asked me this question a few years ago I may have said that I wasn’t impressed. Today I am finding younger bands pushing the boundaries by combining odd styles. I don’t always dig them, but that’s alright.

CB: If there are musicians and bands willing to stop "over-thinking" the word progressive and just write honest songs that they like, I think the movement could be stronger. It is the bands who are trying to write "challenging" music just to be "tricky" or "flashy" that give the genre a bad name. Lame, cheesy lyrics also kill a good song as well...we try to write about real life and real things. I think if more lyricists did that it would also help. Songs about trolls, lions, nymphs, lizards and other make-believe notions have never personally helped me relate to a song's vibe or feeling.

BK: I don’t really listen to much prog rock and only did in my late teens and very early twenties. I like music that pushes the boundaries of song craft and emotional depth through varied instrumentation and use of melody, harmony and rhythm. Most of the prog stuff I’ve been shown sounds all the same and more regressive. Generally the vocals are non-existent or very poor. If I was to talk candidly about progressive music I’d have to say it needs to be less elitist (as a style), learn how to write better-crafted songs (as composers) and learn how to sing and play in an unpretentious way to convey a simplistic truth that will connect with more people.

TH: Honestly, in my opinion, I don't think there is any way of telling. With avenues like iTunes, CDBaby, Bandcamp,YouTube and multiple other avenues, the flood gates have opened for any artist get their music to a massively wider audience without the need for a record label and the pressures to conform. It's mind blowing to think of how many genres and sub-genres that evolved in the past ten years. I think a lot of more popular artists these days (Tool, System of a Down, Radiohead, Mastodon,.......the list is endless) have seamlessly blended many elements of progressive rock into their music and have managed to make it more palatable to a wider audience.


Thanks a lot, in advance, for helping my humble little forum find its footing. I really appreciate it!!

CB: THANK YOU, Ian! What you are doing helps to get our name and music to the next set of ears who may not have heard of us yet. It is greatly appreciated!!