Ep 133 Blake Hornsby Pt 1

It's one thing, then a bigger thing with the thing inside it and it does something. Pretty much. Hello and welcome to WNC, original music episode 133, the Craig Jones episode. Craig Jones is not on this episode.

On this episode is Blake Hornsby, Blake's a psychedelic folk musician born and raised in Chattanooga, Tennessee, and currently based out of Boone, North Carolina. Blake's music is influenced by psychedelia, folk, Eastern music, American primitism, avant garde and sound healing. I'll have links to all of Blake's music in the show notes, but you can find them right now at BlakeHornsby.bancamp.com. We did kind of an interesting thing here.

We're going to have two episodes and in each episode, Blake's going to talk about one of his albums or selections from one of his albums. On this episode, we talk about his album, Teetering on the Edge of the Void. Here is Blake Hornsby. So the intro on this album is similar to the intro and a couple of my previous albums that was also called intro.

My previous albums being Sylipsism and the Nectar of the Gods as well as legend of the unconscious enigma were ones that I did unprofessionally, my younger days through not great recording equipment. But this new one or the newest, the newest one is Dogwood Dance, but the one prior to that that we're talking about now, Teetering on the Edge of the Void, that one is the third in the conceptual trilogy of the previous albums, that I mentioned. That makes sense. So the intro is kind of similar to those, but a little bit, a little bit different.

I kept the intro kind of similar just to round it all out. There's a few things throughout the album that sort of tie it to both of the previous albums for or both of the previous of the concepts, I should say. A couple of things are laid out in the intro, such as samples from the previous two albums. So there's a sample of very short snippets of a couple songs from Sylipsism and the Nectar of the Gods and Legend of the Unconscious Enigma.

So there's little snippets in there that have kind of like a little flashback type effect to help tie it together. There's also other samples I use in there that I recorded from my phone whenever I visited India earlier that same year from a believer in Rishikesh, which is a holy city in India. So it's like sacred chants and songs from through their sacred practices and whatnot. Also on the intro, there is an interesting instrument.

I don't know if I'm pronouncing it right, but it's called a SaaS-C-U-R-A. And that's a Turkish folk instrument. I don't know how to play it through well, but I got it, shipped to me from Istanbul and this guy who made it on Etsy. And I found out about it because I was just searching YouTube and I found a cool video of this old Turkish folk guy singing in his language and playing it.

And I really, really liked it. So I kind of impulse bought one like 30 minutes later for pretty cheap. And I played around with it and I've only played it live like twice. It's just kind of weird to weird to mike it live with all the other stuff that I'm doing.

So I don't know how much more I will play it live. I haven't really decided, but it adds an interesting element to it. That's what kind of the higher pitch noise is. Oh, okay.

That doesn't sound quite like a guitar, but it's definitely a stringed instrument. How many instruments are you playing on this album? What counts as an instrument? Does one bell count as an instrument?

Yeah, sure. Or two bells counts as two instruments? Yeah, yeah. Two different bells, yeah.

Okay, well, let me let me pull the second. All the plates on the xylophone wouldn't count as different instruments, but right, of course. I'm not going to count every string. Right.

Let me pull out my record. I'm going to look at the personnel. You only just list them. What I got here?

Sure. Yeah. Unless there's a 150. No, it's getting close there.

Acoustic guitar, a boat acoustic guitar where I just use a violin bow, lead vocals, backup vocals, mandolin, bass, Native American style flutes, those Soscura that I mentioned, Ocarina, a little bit of Jim Bay, a singing ball, I think two or three bells, some chimes, a thunder tube, a rain stick, random shakers, kazoo, flexotone, tambourine, and previous album samples now also have field recorded India samples on here and electric electronic tambora, which is not really something that I play. I just plug it in and it makes it makes noise. It's the drone that you hear on a lot of the tracks. Quite a bit.

Yeah. Yeah, you hear it on the first track and you hear it on the entire second side of the record, the drone electronic tambora. So I have an app on my phone and a Bluetooth connect on my amplifier. So I just run it through there.

But there's also another one that I have that's an actual physical version that you plug into the wall. But a tambora is usually four strings, sometimes five or six strings, drone instrument that you don't fret at all. You just block the strings and they use it in anybody who's heard anything, Indian influences heard it back, it backs up all the sitar. It sounds like a sitar, but it's not.

It's what you usually hear before the main instrument starts of Indian music. It's just the slow, yeah. I recognize it. Yeah.

And you've probably heard it in plenty of Beatles songs too. Yeah. Yeah. That's my introduction to Indian music is through the Beatles, like probably most people.

Yeah. Yeah. There's actually a tambora. If you listen closely to a certain part in Lucy and Scott with Diamonds, I know that's not their most forward Indian song, but there is a tambora.

The actual instruments like over a thousand dollars. Now, yeah. The lies that you were both to shine. The words you might see, words you might find.

So the first line of peace of mind is touch a tree, fall into a dream. And then at the end, I reverse it just for fun. Touch a dream, fall into a tree whenever it comes back around second part. That line came to me whenever I was hiking to a really beautiful lake in northern New Mexico, just north of Taos.

And it came to me about as simple as I can say, I touched a dream and then I remembered or touch a tree, my bad. And remember to dream I had from previous night. I don't remember what the dream was, but the moment I touched the tree, the dream came into my head. And when I released my finger like a second later, I forgot the dream.

And I thought that was odd and interesting. So that line popped in my head and I held onto it for a year and a half before I recorded it. I held onto it for almost a year before I even really wrote melody with it. It just stayed in my head.

So whenever I went to India by myself, April of 2019, and there about a really cheap guitar and in Delhi to carry around with me. And that's where I wrote some of this album. That's where I wrote a lot of peace of mind, actually. And I sort of forced myself to figure out melody to it.

The first time I actually sat down with a guitar and tried to put melody to that specific lyric, even though I'd had the lyric in my head in a while. And I played with a couple different tunings and then just followed what my voice did and then played around and eventually evolved. And I wrote a few other lyrics whenever I was traveling throughout there and into the Himalayas. I wrote most of it in India.

And then there's a certain part, it's my favorite section of the song. It's what could send part two right before it comes back to the main theme from the beginning. It's the part where percussion kicks in and sitar and did redo kick in. It was my favorite second.

I can't remember if I wrote any of that in India or if it came back, it doesn't really matter. But that section is also based off of two or three dreams that I had. One of them alludes to a dream that I was in India. Is there a is there like a phrase that connects the kind of instrument, like the kind of music that you that you play that you're interested in?

Like it seems restrictive to say it's Indian music. But I don't know another phrase for it. You know, like, because you're talking about sitar, but then you're running in the didgeridoo, they seem like maybe similar instruments, but you know, once from Australia, once from India, is there just kind of a global term for that kind of music? Like, I don't know, like, original native music or something.

I'm afraid even throughout the wrong thing. Yeah, it's definitely not Indian music. It's Indian influence music. I guess some people could say it's world music, but world music has a different connotation.

I feel like world music nowadays is either one of two things from what I've observed. One being a term that we use for music that's not created in the United States or Canada or or main parts of Europe, you know, it's more dealing with Eastern Europe and, you know, Asia, Africa, South America, Australia. Because that's one term people have for world music. Another term I feel like is this movement that started in the 80s where I was like, kind of mixing some other instruments together into a fusion sort of way.

A lot of it's like kind of kind of cheesy. Yes. I noticed that also in the 80s and 90s, like, um, it was sort of a little bit of an alternative movement. And it was kind of like people always thought as people trying to find the next reggae music, they were going to find a country or area that had a kind of music that was going to blow up or something like that.

So they took, you know, Indian music could kind of have, you know, the 60s, became popular, but then it was kind of like, let's, let's give it a backbeat and call it world music and see if we can, you know, turn that into something for college radio. So there's that section I was talking about that I really like that references a a couple of dreams and it goes back to the main thing. Sort of ties it ties it all back together. Whenever I was writing the album, after I fleshed out some of the songs, I started to hear different instruments in my head because prior, I'd only played the instruments on the album.

You know, I performed all of them, even if I didn't perform them well admittedly. So I was just hearing other instruments that I couldn't even touch in my head. And I was like, okay, I got to have some other people play this. And it turns out I knew a lot of people who played instruments.

A friend of mine, Sam, Vanthorpe, he's got his really awesome, he has a really awesome solo country career. He plays violin and cello on the album. I had no idea because I've only ever heard him play guitar and sing John of Cash and stuff, you know, turns out he's classically trained in multiple instruments. So we became real good friends through that process.

And then I messaged some other friends that played some other instruments and ended up working well. The guy who played trumpet was my brother's friends, younger brother. I got in contact with him because we recorded it in Nashville and he was a Nashville right outside Nashville. So I linked up with him and he nailed all the parts very quick.

I sent him a demo recording of it and he came and I never met him before. He came into the studio with all the notes right now of what he needs to play. And he was in and out there, in and out of there in like an hour. It was really good.

I had really talented musicians working on that album. I was very lucky for sure. And peace of mind. I really like the orchestrated part.

So I was trying to get it to sound, you know, a little bit more British, so to speak, in terms of like George Martin instrument, George Martin instrumentation and orchestration and stuff like that. And I think it turned out really well. I played bass on that song, the only song that has bass on the album. And I think it turned out really well.

There's actually oddly enough, there's a lot of influence by Leonard Cohen and Sean Phillips on this whole album, particularly the orchestrated sections. I was listening to Leonard Cohen's album, New Skin for the Old Ceremony a lot. And I really, really liked the orchestrated sections on there that helped heighten the vibe and the energy. And that was one of my most listened to albums that year.

So I could definitely see that peeking through a lot. But sometimes I don't see my influences until after I compose something. Waiting in the forefront of a tangled mind spiraling its thoughts into oblivion. That is correct.

Yes. That's a fun one. That's one of my favorite ones to play. It's an instrumental with just just me on guitar on it.

I ended up re-recording it for Dogwood Dance, my most recent one. And that one I also wrote mostly in India and I fleshed it out whenever I got back over here. There's a lot of fun to write. That's about all I have to say about that.

I guess whenever it comes to the to the title, there's this one phrase that continues throughout the whole thing. And that phrase is symbolic of sort of coming back to peace while the rest of it is kind of symbolizes the intrusive thoughts that you have. And then at the end, it slightly changes key to what it does change key. It changes to a major key to show sort of symbolize coming out of being stuck in your thoughts.

You talk a little bit about the people that you play music with. Is there, and I know you as a performer of this sort of music, but is there a large community of people who go out and perform this type of Indian influence music or Southeast Asia influence music where you live or in other areas in Western North Carolina? Not to my knowledge. But there's no venue that sort of specializes in this or anything like that.

Not really. If you find anybody, let me know. I mean, I think I'll go with them. Yeah, it might be an opportunity for someone to start something like like I can see where, you know, there's a lot of there of course places that have punk rock and country and honky-tonk and, you know, singer singer songwriter and that sort of thing.

But I mean, you know, especially in Nashville, I think there could be a like a little coffee shop or tea room or something like that that, you know, maybe they have all different kinds of music, but also that's where people who play, you know, these sort of this sort of influence music go to. And you know, that's where you're going to hear this sort of thing. Maybe I'll keep an eye out for if I see a, but me to coffee shop owner who's looking for kind of a hook, you know, cool. I'd love to play Dober tea Nashville.

They rarely have music to my knowledge, but I think that vehicle spot for it. Yeah, this particular music is in an interesting area where it's venues who would like world music. This probably still isn't exactly what they want because it's not very traditional. Right.

Yeah. And then yeah, so it's kind of stuck in between a few things because I feel like it could fit well with a venue that likes noise and experimental music, but it might not be enough of that. And then it could fit in a venue that likes folk music, but it might be too out there for that. So luckily lots of venues are very open and do tend to like it.

Hey guys, this is Kendra from the Brown Mountain Lightning folks. And this is Waves from our new album, Folk-ish, which you can find online. You can stream it, you can download it, or you can buy physical copies from our website, which is brownmountainlighteningbugs.com. We also have some really cool t-shirts and some stickers.

So head on over there. You can also find us on all of the social medias. I mean, love for you to come join us. Part four.

The first three parts are on my first album, Salipsism and then I'd hear the gods. This is another example of coming around to tile albums together. This album started for the song was one of the first ones that I wrote for this album before I knew I was going to put it on an album. I was tired of singing the first reflection of the song.

And so I just put the same lyrics to a different tuning with a completely different vibe and I'll end up liking it. I recorded it more from Blake Hornsby in just a few moments. When I remind you, you can find his music at Blake Hornsby.bancap.com and also check these show notes for more links to his past and upcoming music. I want to remind you also to follow the podcast, WNC Original Music, wherever you get your podcast or you can go to WNC, original music.com.

And there will be links there to subscribe wherever you get your podcast. Hey, y'all. This is Willyster. Y'all listen to WNC Original Music.

Thank you. Listen. So yeah, we recorded Peter on the edge of the void in late 2019 in Nashville, Tennessee. We recorded it like I mentioned before to tape, which was a lot of fun and actually the beginning of the album to intro.

I meant to say this earlier. It's the very first split second is the sound of the tape starting. Jonathan drove from Chapel Hill to Nashville. Sam had a rent a car and drive from Boone to Nashville.

Jerry and Joe drove up from where they live close to Chattanooga. And I drove for Boone and then went home to visit family for Christmas. And we recorded over the course of three days. The first day was a half day that I did by myself.

I laid down the vocals and the guitar for the entire album, not the back of vocals, just the main skeleton of it all. Didn't feel super great about it. In fact, certain parts of it, I thought I was going to have to take out and then later, I didn't even notice. And then over the course of the next two days, which were full, like eight hour days, that's when we had the other musicians come in.

So we worked a lot with Sam doing his parts on violin and cello and then Jonathan doing his parts on doing Beck, which is Middle Eastern drum instrument and toddlers, which are the two main things he plays. He plays. So we worked on that for pretty much the whole day. I had lunch breaking back into the rest of it.

I had a good friend of mine, a close friend of mine, I've had for a while drive from Atlanta. We went to school together in Chattanooga and he laid down background vocals for a peace of mind. He hit notes that I can't hit. I wanted to, during the orchestration part, you hear like, I can't do that great, but he can do it really great.

And I almost was thinking about throwing the whole song away because I couldn't hit those notes, even though it's really not, I don't know. I don't know what I was thinking. I was just stressed out before I was going to the studio, but I got him to hit him. And we also sung some harmonies together.

And yeah, I think that's what we did on the third day. Yeah, third day also did the Digery Darr, the Digery Darr, the Digery Doo and the Citar. Maybe I just created a new instrument, the Digery Darr. So there were some other cool things that I learned in the studio just because I never been in a professional studio before, such as there's no such thing as perfect, perfect is the best thing you can get, you know, or else you're going to waste a bunch of money.

Yeah. And I realized that the hard way because I'm a bit of a perfectionist and I was just eventually like, screw it, whatever. This is the best we can do next. And then I also learned that there's lots of his Bob Ross would say happy accidents.

Yeah. Yeah. Yeah. Like there was something that Joe did on the Citar in El Dorado where he can't do it again.

I asked him to do again. He's like, I don't know. I did that, but it sounds fantastic. Yeah.

It sounds so good. It makes it very valuable that it can't be recreated. Yeah, for sure. Yeah.

The title came to me because it was originally going to be a reworked version of another song on Slipsism, the Nectar of the God, one that I believe came after reflection of the sun originally. So it's going to be a variation on a song called Love is the answer. And that's how I got the title. But I ended up not doing that.

But that one, that one's cool. It's all instrumental. It's Sam Drones, the violin the whole time. Doesn't do anything complex.

Just adds drone to it with the electronic tempura. And then Jonathan Sale, he's he's in that band, Una Capron based out of Chapel Hill. He's also in Kong Mustad and he's been a bunch of other bands in West North Carolina. But yeah, Jonathan Sale, he plays bass and Una Capron.

But he plays tabas and Doom back and a little bit of other percussion on this particular record. He hadn't picked up the tabas in six months or something and he comes in the studio and does the song at one take. And I did the song at one take. So we recorded it separately.

Can you kind of describe what tabas are? Yeah, I mean, I know, but somebody else might. Yeah. Tabas are one of my favorite instruments in the world.

They're really cool. They it's a set of two, a bass and a higher pitch one. Forgive me whoever's listening for the terminology. I'm not a percussionist, but it's one thing.

And a bigger thing. Nothing inside it and it does something. Pretty much. Yeah.

One thing with a bigger thing, one, one deeper sound, one higher pitch sound and then make cool noises. Yeah. Yeah. Yeah.

It's used in Northern Indian music as well. Like I mentioned, there's a lot of non Indian influence on this out too, but anybody who listens can tell that there's quite a bit and the tabas add a lot to it. Tabas are the most popular drum in Northern Indian music, popular, most popular form of percussion. And they're very neat.

They have their own language. They're kind of, I mean, I think someone looking at him would first thing that we think of would maybe be bongos. Yeah. But they're are they not they're not attached though, right?

They're never attached. Is that right? I might be thinking something else. What do you mean?

Like a pair of bongos always is connected with a little piece. Oh, right. Yeah. No, they're two separate drums.

Yeah. Yeah. Yeah. And I just want to show off that I really knew what they were.

Yeah, for sure. I'm looking at them. That's nice. Yeah.

But they actually have their own language, which is interesting with the way that you hit both of them at the same time or the way you hit one a certain way. And they they learn it like that. Like there's dins and does and pause and tins. So each strike of it has its own sort of syllable like that.

So a bit like like Jim Bay is like that, right? A little bit like the way you hit it. I'm not sure. I think I might be wrong, but I think Jim Bay, yeah, like you sometimes you hit it with the flat of your fingers, sometimes with the flat of your palm, sometimes with your hand.

Yeah. Yeah. It's like that, but a lot more complex because there's actual words for each time you hit it. And some of the words refer to only one of the drums.

Some of them refers to hitting both of the drums at the same time in a certain way. Yeah. So you can look it up and you can look up somebody doing a basic Pablo course or dentistry the Pablo and they will sing with the notes. Yeah.

Or they're not notes, whatever. I'm not percussion. See the notation. Yeah.

Yeah. And he Jonathan knows a little bit of that. You know, he's he took a class at upstate called Pablo ensemble or a semester. And that's where he does where you learn.

And he picked it up really well. He was really good. Very, very convincing. He told me he doesn't actually know how to play topless.

He said that he's really good at pretending that he plays topless. And I feel like that with Indian music is I'm really good at pretending to play Raga. Raga would be kind of music, right? I wouldn't say that.

It's influenced by Raga. Raga is very, very specific. Oh, is it? To the Western air, but I'm not.

Don't know how to play Raga, really. Very disappointed. I thought I know I'm sorry. I'll let it at this point now.

There was something called Raga rock back in the 60s, which was a subcategory when they had electric sitars, which was just guitars that sound like sitars and they used it in like some birds using a stuff and they called it Raga rock. But it's like the magic. The world of meditation is over here. Sometimes it's so heavy.

I don't know the world. Sometimes I feel so high. I don't need anything. So you know that's around me and all that he's doing.

Well, I remember it's love when you're part of the studio. You've got to be fun with you. I'm yet to prove only it's a start to end. IOODIEN That's my favorite track on album.

I wrote that over the course of a few months in mid 2019, I recorded this album Right before Christmas that year. I'd say this is my favorite song. I just lyric lyrics came to me and I wrote more and more and more lyrics. There were originally a lot more lyrics and put put a melody to it kind of like how I did with peace of mind and how I do a lot of times I'll come up with lyrics and then find where they are on the guitar in terms of my vocal range.

And then that one goes into this space noise freak out section. That's a lot of fun that I've done live with other songs in the past and things similar. I kind of wanted to bring it back. It's it's kind of a short section compared to how we do it live because it goes on a little bit longer.

What's making the what's making the sound it sounds to me like if you take a piece of 10 and shake it it's kind of a lot of sound. Do you know what I'm talking about? I think so it's the flexi-tan. So it's it's this instrument this percussion instrument Jonathan actually turned me on to it a while ago.

I bought one. It's handheld and you put your thumb on this metal part and there are two little mallets attached whenever you shake it the mallet's hit against one another. But whenever you bend it down with your thumb it changes the pitch so you can shake it and while bending it down and it makes some crazy noises. Yeah there's a bunch of a bunch of little fun things on there.

We recorded the album on analog tape and it was only 16 track tape and I was going to get Jonathan to come in and you know play on the actual strings in the piano kind of like how the Beach Boys did and Pat sounds but then the engineer said that all 16 tracks were taken so I guess I did a good job with overdubbing a bunch of crazy instruments. That also I think has some well it's supposed to have some of the samples from from India like I did in the first track but I think they got covered up in the mix of master somehow. Yeah it's a fun section it's just me playing stuff on that section. Then it kicks up in part two.

Yeah and then that's when the top was coming in the sitar and the didger do and then the young guitar vocals and then salmon violin continues and then it sort of breaks down and gets slower and then gets faster and gets slower and then at the end it speeds up and certain parts of the trumpet come in and do the trumpet staying to accentuate certain things. Whenever I went into the studio I came in with printed out multiple copies of a printed out document that I typed that that has all the lyrics but in between the lyrics it talks about where I want certain things to come in. So it would say space section felt erado and then after that it was something along the lines it would point at arrow and say toblas sitar sitar follows this melody and then it would go to the next part where it says love and disguise and then I put on there I want trumpet on this part and then took it away so I had like a nine-page document that brought in the studio with me of just what I had in my head to help other people know what they're doing because me and Sam practiced a lot but the rest of us didn't practice. I practiced with Jerry on Dijer-Doo and Joe on sitar like once or twice before and then just help them in the studio.

Dijer-Doo is pretty easy because I could just he knows how to circular breathe so I just say hey I want Dijer-Doo on this part and then he does it. I play with them whenever I go back home to Chattanooga they live right outside Chattanooga they're a bit older than me like in their 60s early 70s. Joe the sitar player is in his early 70s and he moved from the US to India to go to high school because his father got a job over there so that's where he learned to play sitar. Then moved back after high school.

I was just going to talk about Jerry and Joe because I talked about the other folks. Yeah they're a bit older than me. Yeah I met them. I met Jerry when I was in high school at a drum circle.

He brought his Dijer-Doo there and then I stayed in contact with him through Facebook and ended up playing music together and they had their own thing called organized chaos which is really cool. It's similar to what I do to a certain extent. They've actually had me play guitar with them before and percussion and that's sitar-Dijer-Doo guitar, Jim Bay, Doombag, similar instrumentation but it's largely instrumental except sometimes Jerry will tell a story over top of the music. They've done stuff for like winter solstice gathering at a church in Chattanooga and the rebellion dancers and stuff.

That was pretty cool. For the whole space section there was this cool thing we did because we spent a whole other day mixing it just me how to drive back down to Nashville to mix it or to be in the mixing process. I did not mix it by any means. It was the engineer who recorded that and we did it.

That was fun. That was a full eight hour long day just telling him, hey I want this instrument to flow from the left speaker to the right speaker. This one to flow to the right speaker to the left speaker. I want this one to be right here.

This one to be right here. Could you put a little bit of distortion on the kazoo? For them I've been his idea. I don't know but that was a lot of fun and during that process is whenever we added extra enthalterado because we could only add so much from the 16 tracks.

What we did is we copied some sections of previous in that song. When El Dorado becomes the space part, we sample the first part of El Dorado right before that space part and reverse it and put it in the space part. Then I think we did regular ones without having it reversed. That was cool.

Then also in El Dorado and a little bit in reflection of the song as well as section N. Peace of mind we use a Leslie speaker for me to sing through which is what the Beatles sort of pioneered with Tamara Never Knows and I think Lucy and Skywood Diamonds and Blue Jay Way. But it's a Leslie speaker is a brand of speaker and a brand of organ that spins. So whenever you play the organ, you can adjust the speed of the spinning of this particular speaker.

It changes the sound of the organ but the Beatles decided to run their guitars through it and their vocals through it and stuff. They were super innovative and awesome and can't tell they like the Beatles. Yeah, I love the Beatles. Yeah, me too.

For like eight years, that's all it was. I completely understand. So I did that and that was definitely based off of them. So much to whenever I plugged it in with my headphones and I started doing it, I thought it was so cool.

I started singing Beatles songs through it making the engineering giggle. But also I noticed that a bunch of other bands used it and I didn't realize that they had that technology there because it's an old school effect to do. You can probably then it gets some other way but just with anything analog always sounds slightly different. Okay, I want to thank Blake for being on the show.

Once again, you can find his music at BlakeHornsby.bancamp.com also links to his music at other places in the show notes. Also, Blake has some shows coming up so make sure to follow him on Facebook and Instagram so you know when those will be. And don't forget to follow the podcast WNC Original Music. Look for that on Facebook and Instagram and you'll see updates about upcoming episodes, clips from episodes, and also subscribe to the podcast WNC Original Music wherever you get your podcasts.

Special treat for the closing song this week. You might have heard Blake talking about Unikaprong on the main part of the episode. A couple of the members worked with him and he's friends with him and they have been nice enough to send us a song to play for the closing song. In the Caprong started in Boone, North Carolina.

They now reside in or based in Durham, North Carolina. They've got four albums out, including their most recent one, Kudzu. They play a blend of instrumental, jazz, fusion and alternative rock. You can find them at Unikaprong.com and of course we'll have links to that and other sites in the show notes.

Here's Unikaprong. Have a good week.