Overview   
Today's featured guest is Patrick Murphy. He's the artist and creator behind the mass of the Oracle pet has been playing drums in various bands for about 20 years and decided to take on his own solo project with the Oracle in 2015. Since the project's conception, he has released various singles and EP's.  n August of 2020, he released his first full length titled hypogeum on the UK based label repost records. Coming up, we take a deeper look into Pat's journey as a musician, and how it led him to develop the Oracle and the visual aspects surrounding

K.Dusoe  0:47 
the project. If you enjoy the conversation today, please remember to follow or subscribe to our podcast.

J.Tonelli  0:52 
Thank you, Pat, I know these things can be last minute. We're all busy people working on music, work in our day jobs, whatever it may be. I really appreciate you taking the time out of your free time to do this.

P. Murphy  1:04 
Now of course, I'm happy to do it. And you know, like I was saying to you via text and it would just be cool to just like chat and catch up cuz I haven't seen either of you guys in quite a long time. So it's just cool to have a reason to shoot the shit. Hell yeah, man. Oh,

K.Dusoe  1:20 
you've given us a good reason to get together and shoot the shit.

J.Tonelli  1:23 
Yeah, I'm like really pumped to talk about not just hypogeum but everything you've been up to in the last year. That's what this podcast is really about. And that's what started we just wanted to talk to people about what the heck they were doing to try to bring some light into the situation here right as far as creating ghosts. So when I first saw you putting out massive the Oracle type early promotional stuff, I was very intrigued cuz you know, it's it's, you've been playing drums primarily in like, post punk hardcore, metal bands, you know, whatever you want to call it. What would you call it?

P. Murphy  2:02 
I mean, I guess I I guess people would know me as like a hardcore drummer. I mean, that's the scene I like came up in but I also have done pop punk bands, rock bands.

K.Dusoe  2:13 
Yeah, definitely a really, I'd say prolific player here. You know, I can remember like, as a session dude, right? You're like cornflake. But like Jia and those guys and then of course, you know, you know, the garden country and last night's contributions and even still, right you do I see you doing session work over at ghost, Ghost Hill, go city

P. Murphy  2:30 
ghost it? Yeah. It goes to I've been working with, with Alan day, for four years strong, like during this stuff. Like during COVID. and stuff. He's really got into the production side of things. So I've been helping him out with some stuff played on a couple sessions with him. And yeah, I'm just trying to stay as busy as possible and build my resume. As a musician.

K.Dusoe  2:55 
Yeah. So I think, you know, john was saying this and you know, my sort of image or like, when I think of Pat Murphy, he was just like, solid drummer. Right. And so then I think around, I guess, 20 1516, when I started seeing the, the Oracle on this project, it was I Oh, really piqued my interest kind of blew my mind. Because again, I'm thinking you as a drummer in here are out there doing something that isn't drumming. Right, right. But yeah, not to say I didn't expect it, but I was stoked to see it. Yeah. So how did you get to that transition? Well, I

P. Murphy  3:25 
mean, I guess it kind of goes back to everyone knows me as a drummer. And then there's stuff that like, I wanted to do, musically, that I was into, musically, that I couldn't necessarily do as a drummer. And, you know, some of the people that I played music with, I mean, it started as like noise stuff. So, you know, they weren't really into like the noise scene and stuff like that. And that's a tough one,

J.Tonelli  3:48 
The noise scene like you have to be kind of acclimated, or like one of your friends has to bring you down to like some like Dungy dive bar.

P. Murphy  3:57 
Yeah, with like some dude sitting on the ground with a bunch of crap in front of them and stuff. So I get it's not, it's not for everyone.  As I started experimenting with guitar pedals and tape loops and stuff like that, I kind of realized that more of the ideas that were in my head, I needed to synth in front of me that I I got since and that sort of kind of blew the floodgates open. I guess. I'm not a piano player at all. I have a basic understanding of the layout. You know, as a drummer in high school, I had to know how to play the xylophone. And it's a similar layout as a piano. But the cool thing about synths and like analog synths, especially is that like, you don't really need to know how to play the right notes and it's just Sonic exploration. You know? Honestly, the big thing for me, I've always been like a huge Nine Inch Nails fan like you guys, you know, downward spiral came out. We had never seen anything like that before. Our parents didn't either. Yeah. You know what I was thinking about this the other day, like when I first heard Nine Inch Nails. I have older siblings. So I was a couple years younger than you guys but I've older sibling so I was exposed to all this stuff as it was happening. And I remember seeing the perfect drug video. Oh, yeah. And I thought he did all that on a computer. Like I thought it was like, I didn't really understand what was going on. And it just like, piqued my interest. And then fast forward to you know, my late teens, early 20s. I was getting into bands like swans and deaf in June and stuff like that, and Throbbing Gristle and that whole scene of early industrial stuff. I kind of put two and two together and it was like oh, this is where Trent Reznor came from. This is where the downward spiral Pretty Hate Machine This is, like he's influenced by all that stuff. Definitely. And then I then I heard like, the first ghost epds that he did. Yep, I had never heard those before. And once I heard those, I was like, Alright, I need to do music like this.

J.Tonelli  6:03 
I'm just like really excited that someone is doing this, that I know really well. And you're doing it really well. I've been wanting to create that type of music, this type of soundscape type stuff for a long time. I've been dealing with other life stuff for a long time. Now. I can't wait till I can dive back into it. What's the first thing that you gravitated towards, as far as like an instrument goes?

P. Murphy  6:29 
guitar Actually, I was probably like six or seven. My mom had an old guitar. And I took guitar lessons. And I just really couldn't get with it. My older brother played drums in the school band. So I had the opportunity to also do that I learned drums through school. So I started with guitar. I can't play a note. You know what I mean? I'm not a guitar player by any means. And then it's a tough instrument. Yeah. Oh, it's super tough. And I I don't think I'd be able to play it now. Even if I tried. So I was like, Okay,

J.Tonelli  7:02 
how about I tried drums? He definitely excelled there, man. Yeah. As far as Massachusetts goes, I think you're one of the better drummers that I've seen play live. I feel like you might have tried out for one of my old bands. I did. Back in the day I did. Your new record is just bursting with creativity and innovation. The fact that you have like, what five videos that you produced for that record? Is it like four or five?

P. Murphy  7:29 
How many? I think there's six songs on the record. So yeah, so it's, it's it's a video for every song that sort of culminates into like a short film. That must

J.Tonelli  7:38 
have been a huge undertaking. It was, I can't imagine doing that.

P. Murphy  7:42 
Yeah, we started filming in like January of 2020.  As the weeks went on, COVID started to happen. And we had, the initial plan was much different. We were gonna have more people, and it wasn't just going to be like, me, and another version of me. Yeah, that idea was was always there. But there was gonna be, you know, more people involved. And then COVID happened and Nate Fisk, and I kind of had to go back to the drawing board and figure it all out. So he came, he came to me, and he's like, Oh, I want to do a music video. And then I was like, oh, how about we do this not really sure how we would respond to it. And he was like, totally on board. And it was quite the undertaking. And most of it is because of Nate. He sort of spearheaded the storyboard and listened to the songs and you know, what he thought would go well with it visually. And we kind of went back and forth about he was a big player in that. Yeah. Oh, absolutely. And, you know, there were stuff that I was really, really influenced by in terms of like, film that it kind of showed to him that he hadn't seen before. And I think he did a really good job of pulling from those films and the ideas that I gave to him. I don't think I'm always the easiest to work with. Because, you know, in my brain, I have this specific vision of how I want it to be and he did a really good job of

J.Tonelli  9:07 
navigating your your insanity. Yeah, exactly. Oh, I get it, man. I mean, that's collaboration. And that's a huge topic that we run into on every episode is just how important collaboration is even if you're a solo artists. It's it's tough sometimes, especially when you have a very strong vision for what you want to see come to fruition. And does it ever come out exactly how you want it for anybody? I want to meet someone with like, that's exactly what I was envisioning. And you see huge movies with like, huge soundtracks. Blade Runner is something I like to reference. They had to be like, this was this is perfect, or Yeah, like that is perfect to me. But was it perfect to the artists that worked on it? The composers? I don't know.

P. Murphy  9:50 
Yeah, as you can tell, Blade Runner is a huge influence on this last record, especially so I feel the same way. Yeah, man.

K.Dusoe  9:58 
Upcoming current current stuff. I know there's the split. You have, Pat. You know, the ghost gardener?

P. Murphy  10:03 
Yep. Yeah. Yep. That came out April 9. Yeah. Okay, so last part. Yeah. So I've got that. And then I have two other splits that I just announced. The first one is a four way split between two us black metal bands. celestial sword in Clanton, the other band is called mean ma from Greece. And that's coming out. I don't know the date yet. But that'll be out on this label called gems based in Chicago. So we get an idea of, you know,

K.Dusoe  10:38 
where you're coming from musically, right, playing drums and kind of be influenced by a bunch of different things out there. And you realize, Hey, you know, if I want to participate in this realm of music, I have to get off the drums. Right. And so right. So that's sort of what led you to the Oracle. And, you know, seeing you live, even just seeing, you know, the music videos, or the the artwork and photographs, it's comes pretty clear, I think, to anyone looking at that, you know, the visual component, the performance component, and, you know, the audio presentation really all goes together, right? Absolutely. And so, I guess, would you be into talking about maybe some motivation, as far as, firstly, you know, the visual presentation, you know, makeup and clothing as inspired by something or falls under certain category, the sort of combined audio visual performance aspect to your project?

P. Murphy  11:32 
Yeah, sure. I've said this before, I feel like if I was just on stage, wearing like a T shirt and jeans, playing this epic sounding music or whatever, it would just be like, kind of boring. I feel like the performance art is just as important as the actual audio of the art. Obviously, it's inspired by the early 90s, Norwegian, black metal, you know, the corpse paint, the robes and all that stuff. A big part of it is like, Catholic mass, I grew up I was raised Catholic and all of that, like, you know, like the rituals behind it. And it always sort of spoke to me. Not that I necessarily adhere to that religion, visually, it's just always something that stuck with me. So I guess the character that I play, it's like some sort of Messiah like person, not necessarily cult leader, but the same premise. You know, it can be argued that most religions are kind of started that way or whatever. It was kind of like my infatuation with Catholic rituals. And then what the Norwegian black metal bands were doing, you know, with their church burnings, and Sure, it's dark shit, man. Yeah,

K.Dusoe  12:56 
it is typical to you're saying, you know, if you're talking about Roman Catholic ritual, you know, the stuff that was happening early 90s, in Norway, in the black metal scene is sort of, I would say, pretty much the opposite.

P. Murphy  13:07 
Yeah, maybe that Yeah. But yeah, the reason that they were doing that shit was because Christians came in and ruined their culture in their, in their opinion, you know what I mean? So, all that spoke to me, and I wanted to find a way to kind of meld meld it all together.

K.Dusoe  13:23 
They might I think, so. I know, we've watched, you know, folks, like we said earlier, on the floor with some, you know, pedals on like, an ironing board, you know, for their set. Yeah. So, but, but I definitely think, you know, in our case, the, the visual element, at least in the performance element really kind of makes it really like, you know, you've created a character you've created the soundtrack, right? As far as storytelling goes, you have a setting right? You have a place you have a tone, it's it's all there. It's just like there's one complete piece I think of artwork and at least for me, I really appreciate that because it's you know, it's really immersive you know, you come to a performance or to a show, you know, going through your tunes, right you're

P. Murphy  14:04 
Yeah, right. Yeah, I'm not like talking to the crowd and you know, saying I've emerged in the back or something like that.

K.Dusoe  14:10 
Yeah, t shirts in the back. Yeah. I'm familiar with like ritual artists in like the visual art space. And I'm sure you know, I've ever thought about from the standpoint of music or performance art, but I would definitely put you in there as being a ritual artists right. And yeah, that's,

P. Murphy  14:26 
that's certainly what I'm trying to go for. Okay. Okay. I don't know if you're familiar with Herman neach. In like the 60s, he was like a highly controversial performance artist, he would use like, blood from animals. He would like you know, not butcher but he would get like dead animals like dead pigs and sort of cut them open on stage. use their blood for paintings, he would put them on people. And he also created this like insane music to go with it. So when I heard about that, I was like, Alright, that's really fucking cool. Yeah. I mean, I don't know how familiar you guys are with like Throbbing Gristle and psychic TV. Yeah.

K.Dusoe  15:11 
So you TV shows? Yeah,

P. Murphy  15:12 
yes. So yeah, in the 60s, Genesis had a performance artists group called kume transmissions. And they would do art installations with this, like, really abstract noise stuff. So that was just another influence and something I really wanted to take a stab at, emulate in a way,

J.Tonelli  15:33 
like actually, not that you're totally biting people. But where music is nowadays is bars, the mainstream goes and whatever is kind of right below it. There's not a lot of people experimenting in trying to challenge the listener which your album, that's what it does. When you step up to listen to mass of the Oracle, you're not looking to like dance around the living room and vacuum, you want to put some headphones on and tell everybody to leave. So you can like be all consumed by it.

P. Murphy  16:01 
Right? Yeah, no. And that's, that's absolutely what I was going for. I know people who have meditated to it. Oh, totally. It's, that's a great compliment. That's one of the biggest compliments I can get, you know, meditations you

J.Tonelli  16:14 
actually put by neural beats in there somewhere like, Is there some hidden by neural beats gone? No, I

P. Murphy  16:19 
really wish I had done that people say it works for them, you know, like astral projection or something like that, or show a ritual of their own. Part of the reason I called it hypogeum. in Malta, there's this ancient temple called the hypogeum. That was underground. And they didn't discover it until 1919, I think. And they found this room called the Oracle room, and it vibrates at the holy frequency. 111. Right. Yeah, after 11 hertz.

J.Tonelli  16:51 
Yeah. You know, people have experienced out of body experiences by the vibrations at that hertz. That's like the fundamental frequency where as far as males go, but if you spectral analyze, voices, 111 is kind of like where that fundamental frequency is. So I can only imagine being in a room that has that kind of resonation. Or it's tuned to that, and you start talking in it, and it's amplifying that. So if you were like chanting in that room, it would be so it would just take you somewhere. Yeah, absolutely. There's something that I think we lost through time that the ancients knew about mechanical impulses.

K.Dusoe  17:31 
100% about it. I mean, you mentioned by neural beats, so that's, yeah, that's, that's current and I don't think people know, the power of it, you know, mainstream practice, for sure.

J.Tonelli  17:41 
I think we're starting to understand it, or at least in the last 40 years, you know, it's more accepted. People still make fun of people for making reservations on a bowl. Yeah. And like closing their eyes. Like that's not doing anything for you. Here. Here's the pill.

P. Murphy  17:55 
Exactly. Have you Have you guys heard of Gong baths before? Oh, it's Yeah, I have like, it's like a form of yoga. The participants like lay in a certain pose, and they'll just play the gong, and it creates some sort of release for them. My mom's actually done it before. And she said like clear to sinesses and get the hell out of here. Yeah, where can I go get a gong bath going on? Like Where can I start my my parents live in Rhode Island in like South County Rhode Island near like Newport in Narragansett and stuff, and there's a yoga studio around there that does it. I would love to either make an Oracle show a gong bath, or just go to one you know,

J.Tonelli  18:39 
how about we the next episode we do office three, go to the gong bath and like maybe interview the guy i would i would love that's something I really want to get into as these shows progress is like have a return guest like in do some kind of, you know, weird or go on an interview and interview somebody? Yeah. Who knows maybe Trent Reznor will be on the show someday. I'm sure he hates these type of things. But I know that you come back and can talk to that guy. I really want to try this Gong bath thing. real bad now.

K.Dusoe  19:10 
Yeah, I do too. And like it's not it's not that dissimilar to like going to see like a drone band or exactly, or a drone artist or a noise artist but just book called monolithic undertow by hairy sword. If you know it, we've seen it. But you mentioned drone. It's pretty neat. This look at kind of this may be a survey of drone use, because they currently do metal drone music but even historically speaking in practice for devotionals applications and even going back to probably, I mean, I wouldn't be surprised if the Oracle room of the you know, the hypo GM is, as mentioned there. So if you're in the drone, maybe it'd be worth checking out the history of Joan but just like applications from early civilization to healing to potentially just checking out this six storey metal band They're going to be great. I know there's a place in Joshua Tree, I've always wanted to go to integratron. This is again, this dome that is, you know, tuned to a unknown fundamental resonance frequency. And you sit there for 2030 minutes and you go through a session, just as you probably would at a gong bath.

J.Tonelli  20:20 
You see a lot of these history shows like ancient aliens, or even, I can't remember, there's so many of them, it's usually it just washes over me. Once 10 o'clock hits, I just put on like some weird stuff. But you have all these guys going in, like doing the tests and like figuring out all the science, but you never, where's the artists going to those places and recording something, right? I think if I were to do anything in the next couple years, it's go to that place in Joshua Tree, or there was one I was just watching where there's like the civilization that goes a couple miles or so underground, these buildings, and they have these rooms that resonate. And there was obviously some kind of like ceremonies going on in these rooms that like back in the day. 1000s of years ago, how was someone building the structure? You know, it's like megaliths underground, I want to go there and record, like, bring this aerobus bring the the oberheim. And just like, utilize the science they found in those rooms, like, what does it resonate at? And try to find some harmonics that do some strange stuff. And just a mic. And, you know, a really nice speaker, in let it go man in create a whole album, maybe we just like three instruments in this place like drone album.

P. Murphy  21:39 
Yeah, that'd be great. That'd be so cool. William burzynski, who I mentioned earlier, he put out an album A couple years ago. That is, it's actually the audio from a black hole. NASA let him use this audio. Not that he chopped it up, but he just kind of did his thing with it. And it's a similar thing to what you're saying. Like it's just fucking crazy. Take the audio from black hole and go into one of those strange places that they have no idea how it was built?

J.Tonelli  22:08 
Yeah, obviously Ancient Aliens built those.

P. Murphy  22:11 
Yeah. there there there is an ancient aliens episode about the hypogeum.

J.Tonelli  22:15 
So I've seen every one of those. And like I say, sometimes they wash over me and maybe I fell asleep. That one that Keith was talking about. There's a whole episode on acoustics. And I'm pretty sure it's in that one. But that stuff really excites me. Say this Keith all the time. It's like, let's go to a church and just like record some stuff, just to like, get a cool, different sound. Yeah, maybe it'll find its way into something. This is one thing about what you're doing. You're not just doing something because I like dark stuff. I like to put makeup on and put on these theatricals. There's history behind it. And there's just like mystery behind it. Because the music alone does what it would do. In that ancient place. You're trying to recreate this experience for people to take them out of the every day. I feel bad for all those people that work at Home Depot and have to listen to like the Home Depot station all day. Yeah, what you're doing is like, you're trying to take people away from the reality that is now and give them a reason to explore to look deeper into music, right? And to look maybe deeper into the history of human civilizations in our past. I think a lot of people are just going through this man, taking everything for face value. Thank you for the the money and thank you for the house, you forget that there's something large at play that we need to accomplish during this life. I really appreciate what you're doing. And anybody who's taking risks and taking the time to put something together. That is more profound than just a really good song you can dance to those are good too. But thank you for doing what you do.

P. Murphy  23:53 
Thank you that that means a lot. That means my goal has been reached to at least one person, you know,

J.Tonelli  24:00 
you put the work in man. It's not like you're just like throwing a synth on a table. There's thought behind what you're doing even though it's a soundscape type of medium.

K.Dusoe  24:08 
Nothing I want to ask was just like if you're cool with this,

P. Murphy  24:11 
yeah, go with it. I'm open for anything. I have no boundary dimensions.

K.Dusoe  24:15 
Everything's really you know, well thought out and composed. Right? It's it's not just completely Sonic in process experimentation. I know that you're working with a producer right exact weeks. And I'm not sure if their role in your music is sort of really important. Or maybe just one album y'all worked on together. But as far as when we talk about process a little bit you know how you go from idea to maybe finish track or finished album finish scape? Yeah. So

P. Murphy  24:40 
for hypogeum that's, that's the one thing I've worked on Zach with these other splits that I've recorded on my own at home. He absolutely helped in achieving that sound. I don't think the record would have gone the way it did if he didn't have his finger on the pulse as well because The way that I write Oracle stuff, it's not like I am sitting down, like, Oh, I have this verse, I have this chorus, blah, blah, blah. I didn't have anything written. Except for a few like little ideas before I actually went into the studio. At a studio like God city, that can be an expensive route to take, you know, if you have the right mindset, it works. You know, my goal was to have one song completed during each session. And we basically did that

J.Tonelli  25:30 
you had to have something in mind, though, like, at least some kind of key element that was kind of the anchor. Yeah. So what everything else might be,

P. Murphy  25:39 
you guys may have figured this out. I don't know how deeply you listen to it. But it's all based around the G minor chord, the whole album,

J.Tonelli  25:47 
I did not analyze it like that. There's a lot of mode going on. I don't know if it's a grandmother.

P. Murphy  25:51 
Yep. There's the grandmother in the OB six are probably like,

J.Tonelli  25:55 
yeah, those are the two things I'm hearing.

P. Murphy  25:56 
Yeah, those are the biggest sound sources for it. Basically, the first day I went in there, it was something it was an idea I had, Zach sort of helped me lead it into the direction it needed to go all right apart. And I won't really know where it belongs and the song, but we'll still record it. And then I'll record another part. And I'll be like, Where should this go in the song and we'll sort of manipulate it that way. kind of pull it into a structure.

J.Tonelli  26:23 
I love that man, and not to interrupt you at all. It's to your point. I think that's a great way to approach anything. I feel like we're I get caught up. And maybe a lot of people get caught up writing music is like, I need this progression, I need to really think about how the minor keys are going to support maybe that progression in a different way. Maybe I'm adding, you know, a seventh where there shouldn't be there's a lot of thinking about how I'm going to make this different right in that aspect. You're just saying, here's the key. And I'm just gonna let everything else fly. I'm like, really inspired by that simplicity.

P. Murphy  26:56 
Thank you. But yeah, like, I didn't want to over think it. But I also wanted it to sound like grandiose at the same time.

J.Tonelli  27:06 
I think there's a lot of like minimalist composers that successfully do that. So I sort of like to kind of take the minimal approach while really making it sound grand, like I said, with the actual instruments or using those things sounds so amazing. If you don't know anything about music or synthesizers, it's otherworldly. What is making that sound like that's the intrigue. It's not like, Oh, this is a lovely progression. It's bringing me to hearing there. It's just like, consuming me with how cool it sounds.

P. Murphy  27:39 
Yeah. And it's very easy to lose yourself. And like immerse yourself in the world of since that can do these fucking crazy things. And it. I mean, it, it sort of helps you make the song too. You know what I mean? Like? I don't know it. It's like another member of the band. Now, you said G minor? Yep. Now, is there any reason you pick G minor? Honestly, no, I would say 99% of the music I write is in a minor key. I just liked the way that sounded. And it was cool to kind of work around the notes within that chord. All throughout the album. This is really taken from like, like classical music has this too. But like 70s prog stuff also has recurring themes musically, for people who don't really like dig super deep into it like Pink Floyd is a good example. For like a mainstream, progressive artists that sort of harkens back to other chords or progressions. Wish you were here shine on you Crazy Diamond. And you know, it all sort of kind of ties everything in together. So I'm a big fan of doing that too.

J.Tonelli  28:55 
It makes it cohesive as a piece right? As a whole like an album. There's so much going on in the world nowadays, there's like a different color every three seconds. That really kind of ties it down. It's meant so you can sit there and listen to the whole thing and for a second stop the add you know, your album is just like from beginning to end this one planet you know you're not going Star Wars there's like a whole galaxy right in Federation. It's like, here's another dumb analogy.

P. Murphy  29:23 
No, you're I mean you're you're spot on like experimental music aside, I've always been an album guy. I don't like to skip through and oh, I only want to hear the single Oh, I only want to hear the hit like I want to sit down and listen to it and album start to finish some of my like fondest memories of discovering bands is just sitting in my room as a teenager, you know, like 1213 years old, listening to an album reading along in the in the liner notes and just sort of taking it all in and as you're saying the world we're in now it's like nobody wants to focus on one thing like I need To listen to an album front to back, I need to watch it movie in one sitting. I don't care how long it is, you know what I mean? I, for me definitely, like all forms of art. It's like an all immersive experience. And I don't want to take it in, in bits and pieces. And that's what I aim to do, as a musician to

J.Tonelli  30:19 
a lot of the people we talked to, that are sitting at home. And it's kind of the counterculture now to say, I don't give a shit about what they want me to do, or what's gonna make me successful, or how I get 1000 followers, I'm just gonna do something that is real and authentic to me. And I'm going to do it how I like it. And if you don't like it, hit the trail, go back and watch 1000 Tick Tock videos in an hour. Yeah, like, my kid just turned two. And we have the record player, we listen to records, side a, here's the click. He knows side B, he wants to hear both sides. And when it ends, he like kind of gets upset and wants to listen to the next side, we have to finish the whole record. There's something about that that's innately in us, we need to digest something and be moved and move on what the world's giving us now. It's like this anxiety in this constant. I don't like what the world is right now, as far as that goes. Yeah,

P. Murphy  31:18 
no, I agree. I feel like our generation is the last to like, you know, we had the beginnings of the internet. Like it's pre internet. Yeah, we didn't have the instant gratification of this artist put out a new song, let's listen to it immediately, we would have to hear it on the radio, we would have to see the video on MTV. Or we would just go out and buy the whole album. And the internet just changed how we consume, not just music, how we consume everything, because everyone just wants it instantly. And there's no thrill of going to a record store and seeing if they have this CD or seeing if they have the seven inch or whatever. And, you know, I feel bad for people who missed out on that.

J.Tonelli  32:02 
Yeah, it's kind of split down the middle. Some people could care less, which is totally understandable. But would you just go "You know what, I'm just gonna flip on the Empire Strikes Back and like, watch this one scene?"

P.Murphy Yeah, dude, ever, never.

K.Dusoe  32:16 
I'm gonna go to the movie theater and ask the projectionists you know, can you just set it off? Like, forget the beginning the intro long ago, far away. But I just wanted to see this one part.

P. Murphy  32:26 
I just want to see when Darth Vader tells Luke that he's his father.

J.Tonelli  32:30 
That's it. Like sometimes I just want to hear a mixtape. That's why they were invented because it was like, here's a bunch of cool songs. And I put it together and I curated it. That's awesome, right? And there's nothing wrong with that. There's nothing wrong with how we digest music now. It's awesome. It's convenient. You know, we lost touch with the other aspect of it. You can own it, you can cherish it and enter this other world for 45 minutes or so. Yeah, there's just something to that. I wonder

K.Dusoe  32:55 
when CDs started coming around. You had the ability to skip this I guess when it started happening? Yeah, I never thought of that. This idea of like you know, you're not like sitting with the work. Like if you had a 12 inch record historically you know, you put the record on and like the needles going maybe people did this I don't know but like would you drop it on the chorus of like a yes song or whatever you're listening to at that point? Probably not hold back a little bit more if you didn't like the people you're hanging with we're probably we're like What the hell's wrong with you man? Yes, like you know, put it onto the beginning Yeah, not

P. Murphy  33:25 
now. There's that idiot at parties will do that now. Like, let's skip to the chorus on their phone or whatever. You know what I mean? And like, know that that makes sense. Like what parties are you going to who is that can take a while. Yeah, like back to what you're saying? Like, I bet there's some older dude who got the Derek and the dominoes CD. And you know how the end of Layla is like five minutes long. That's probably one of my favorite songs in the outro to Layla is like one of the best things but it lasts longer than like the hook of the song. How many dads got that Derek and the dominoes CD or Eric Clapton's Greatest Hits, and we're like, dude, I hate this part. Like the ending goes on for five minutes and then you know, skips it to cocaine or whatever the next song is and the greatest hits. Screw this I'm putting on next one away. It'll pop

K.Dusoe  34:14 
up eventually. Yeah, the precursor to the instant gratification that is streaming music, like I'm just gonna, I'm just gonna check out the verse in like, the first part of the chorus of the song and I move on.

J.Tonelli  34:25 
When I was a kid. I used to put on crash test dummies when I was 12. Yeah, there was like two or three songs I liked on it. Sometimes I listened to the whole thing, but I'd throw that on listen to the three songs and then put on several pilots or something or whatever else I was listening to. There's absolutely nothing wrong with that. And I'm so happy there's that convenience. But getting back to you in mass of the Oracle. Like you said Pink Floyd the wall. That's like something you want to sit down and listen to the entirety of it. When you put the wall in. Right I still have the double

K.Dusoe  34:56 
o the CD Yeah, like the the brick the brick of a case. Yeah. I actually

J.Tonelli  35:00 
don't have a CD player anymore. So all those are just sitting in a box. But when I did have the CD player, I'd sit down with that. And when I sat down to the wall, I'd listen to the wall. I wouldn't just listen to the radio songs on it. There's there's certain instances where it needs to be digested a certain way. And how do you tell people, a random stranger who wants to know what the hell you're doing? And then like, What are you up to? Man? Can we skip to the chorus and your song? You're like, how do you

K.Dusoe  35:26 
wrap that in a pretty boat? Like the the Is there a user manual for? You know, listening to the heart? Not

P. Murphy  35:31 
really, I guess I haven't really encountered that. I feel like the people who are into it sort of know how to digest it. I understand that not everybody is going to be into 45 minutes of whatever this is I'm doing because there's no like hooks and no chorus, no verse, it's hard to explain, like, I've said to people just think of it like you're watching a movie. And that's how it should be taken like that.

J.Tonelli  36:01 
I guess that's part of the reason I did a short film for it, too. So the video aspect is huge. Everybody needs the eyes to be entertained as well, these days, what I'll do, I lay out a big piece of paper with my son, or actually, sometimes when he takes a nap, I'll lay another one. And I'll put on a record. And I'll just draw, I'm creating now to something that somebody created. And it's inspiring, maybe what I'm doing. I don't know, I feel like a lot of people that are into the arts will understand it. And it's not for everybody. I'm so glad that you understand that. And it's a very humble thing to say. Because a lot of people be like, no, everyone should be in this because it's awesome. And I wrote it. It's not for everybody, and that's okay. And you're curating your music for people that want to almost be challenged or have a soundscape while they do something else. That's what your record does. For me. In music like that. It's mine. It's mine to do whatever I want with it. It's it has a place in my life when it needs to be there. You

K.Dusoe  36:58 
can imagine when you talk to folks, I'm sure there's people you're friends with or you know, your neighbor may be like, Hey, man, what's up with you? What do you do? Yeah, like, how do you approach and present like, you know what you're doing to someone who give me 10 minutes? I gotta get up, and I'll be right back.

P. Murphy  37:12 
Yeah, I work corpse pain robe. And then I like press all these buttons for now. Have you ever thought I'd like maybe cooking like doing a short little video? Oh, yeah. Like, like an Oracle cooking show with the makeup on? Yeah, yeah, that's a good idea. I'm sure the black metal and dungeon synth crowd will go wild for that. We all have to eat. Yes, true. And you know, why not have one of their peers cooking his favorite meal for them?

J.Tonelli  37:37 
While you're listening to the record? If you don't know how to listen to my music, just cook and listen to it?

K.Dusoe  37:43 
Yeah, I mean, how long does it take to simmer a pot of lentils? Yeah.

J.Tonelli  37:49 
You said you would let us listen to one of your tracks of the new split. Yeah. Is that still worse? Yeah. Let's take a second and listen to a clip from visions of Fatima off of the oracles new split with ghost gardener.

Let's talk about that track a little bit. Is that something that you kind of worked on from scratch? Or was that worked on with the other artists you were doing the split with

P. Murphy  39:18 
I worked on it from scratch. The way it actually worked was I recorded another song first. That's going to be on another one of the splits. I'm doing this one from the ghost gardener split was all from scratch by myself on my iMac and kind of the same thing as doing the hypogeum record. I had some parts that I recorded, and I kind of placed them where I thought they fit. What I've been doing is adding like any percussive parts after seeing how they fit in the song and

J.Tonelli  39:50  
write it was a little different than your recording experience. hypogeum sounds like it was a little more conceptualized in a sense like you had a mission versus I'm doing an mg and gonna let it Yeah, it sounds like you had kind of like a...