Beat freak in residence

to Changelog and Friends, our weekly talk show about beats that bang so hard. Big thank you to our friends and partners at Fastly, Fly, and Type Sense for helping us ship awesome podcasts every single week. Okay, let's talk. So we're joined by the mysterious Breakmaster Cylinder, which I've said probably a thousand times in our outros by now. BMC, thanks for hanging out with us. Hi, oh, my pleasure. Thanks for hanging out with me. The Beats Master in Residence, the original, the OG beat freak. Yeah, I like beats. Yeah, I don't know what our podcast will be without you. Honestly, I think that this is like an interesting moment in my life because was a fan before meeting you and then emailed you, didn't think I'd get a response. You responded basically immediately and was like, I'd be honored. I would be honored. And then now that's just history now. Yeah, it's history. And like working with you is super cool. Thank you. I like the show. So a lot of people do Breakmaster Cylinder theme songs for their podcasts, but not very many people do what we do, which is just be like, hey, will you just continue to make music for us in perpetuity? Yeah, you have a big exclusive library of whatever it was you were thinking of at the moment. We do, don't we? I want it to sound like watermelon sugar, but something. Oh, that was the best one, yeah, man. Was it? One of many best ones. I mean, they're all our babies, basically. They all have a special place because like music plays such a role in, I think, inner emotions. Music is certainly an emotional thing. Certainly. But there's a certain love that you have for the music you love. And so watermelon sugar and the seaside version that's pretty much famous on TikTok, that's where I know it from at least, is that those blends. Watermelon sugar was a song by itself from Harry Styles and seaside was a song separately that I'm not even sure the artist, but on TikTok they blend together and they're perfect. Perfect. And we made a rendition of that that was super cool. And then you're like, Nintendo video game levels. And then you're like, Billie Jean plus Hall and Oats. Oh my gosh, yeah, Hall and Oats. Yes. Delicious oats. I feel like it's just like, what do we like in the world that we need to somehow do original versions of or original inspirations of? But I think how it began with the library was just that we had access to the library that you have for, I guess, your clients, your customers basically, but we were using ones that were not quite what we wanted them to be. Obviously they're your stuff so we like it, but there was like, we like this, but could be different in this way or this way. And we just had particular needs. And we reached out to you and saying, can we just do something where we build our own music library and they're all licensed for us. Nobody else can use them. And I think that like, we're deep in this chair, like that that's normal for us and not everybody, not all podcasters have that luxury and or ability to just have what we have. And I think that's kind of like our secret sauce in a way, you know, cause no one else can sound like we sound. BMC, has anybody else made such a proposition to you over the years? Like said, hey, like what Adam said to you? No, not really. Yeah, sometimes I get requests for specific stuff, but then I eventually put it in the library. Gotcha. You all have very specific tastes. You like glitchy things and you know, things. I've been writing a lot of polka lately if you need that. Polka? Yeah. It turns out I'm not that bad at it. Huh. What's your favorite genre? Polka. No, I don't know. Polka. Just right now. Yeah. The answers to that are only obnoxious. Like right this second, someone in the world, just, just feel it for a second. Someone is saying, well, listen to all music, except for country. Well, the old school stuff is good. Someone saying that. And that's kind of always the answer. Yeah. I don't mind country though. That's fine. Oh God, I don't know. Lately, late sixties, Cambodian rock music, technical death metal. Oh, what's her name? Ma Rainey. Like 1920. Wow. I don't know. So you have eclectic taste, kind of. There's a Korean rapper I like who just put out a new single. Nice. Yeah. Music's good. Music is good. Music is good. So did you ever consider saying no? Like when Adam came to you and was like, Hey, can we just hire you in perpetuity? Did you, was that like a consideration for you? Or you're like, why not? I don't know how you run your business or what you like to do or anything. I don't know very much about you, BMC. I like making music. So of course. Heck yeah, I said to myself. Just like that. Heck yeah. And threw my fist in the air. What about particular requests? You know, like when we came with the Hall and Oates slash Billie Jean. Do you ever just want to throw us out a window? No. Or are you just like all in on that stuff? No. No. No, all in. No, come on. Well one, he learned something. Yeah. Right? Didn't know that Hall and Oates, I Can't Go For That. It's called the No Can Do song. And it was inspired by, well, sorry, Billie Jean. Let me rewind. Michael Jackson's Billie Jean was inspired by that bass rhythm at the beginning, was inspired by Hall and Oates song. And Michael told them at a party one time, like, hey, you know, I'm doing my best Michael Jackson impression. Really? That's not good. I mean, it's not good. It's not good. I'm doing a terrible job. It's very good. No, it's very good. Don't be too nice, BMC. You know, Billie Jean was inspired by No Can Do. And they were like, whoa, that's so awesome. And I thought that was a super cool fact because I'm a fan of both of those songs. I happen to really enjoy, you know, singing No Can Do. Personally, I really, like, I'll walk around my house just singing that and my family gets upset. Oh, cool. But then I'm like, hey, BMC, these two songs were like, there was an impression here on Michael Jackson to create Billie Jean. He's like, wow, that's super cool. And then, you know, let's do something about that. And that's how it works. Yeah, didn't he like apologize to them for ripping it off? And they were like, we have no idea what you're talking about. Yeah, exactly. Exactly. He was like, sorry for doing that. And they're like, no, that's totally cool. Please rip us off. Yeah. My impression is that I think we probably have similar likes in, you know, 8Bit and game culture and music and game culture. And even like just other music we bring to you and ideas. I think you like the challenge of like digging in, technically, to the music we share with you and suggest and direction we can go. And I think that's my impression, Lisa. You take it as a challenge that you appreciate the diving into those other tracks and whatnot and kind of finding your own history and your own likes and dislikes. We will often give you a version of a prescription and what we get back isn't necessarily a result of that prescription. It's sort of like, we like this about it, but then you can sort of go away and you come back with your own artistic take to it. And we never really pushed back on that because that's just how art works. Sure. That's my impression of the relationship is like we kind of share some ideas and you bring your own thing and you have fun along the way and then we get back whatever is BMC -ified in that process. It is BMC -ified, isn't it? Yeah. Yeah. That sounds right. That sounds right. I had something to say, but I forgot. So that sounds right. Sometimes we just tell you to make it more BMC. Oh gosh, okay. More marimbas, more beep -boops, more breakbeats, more pretending to be square pushers, more Starbucks parking lots, more, I don't know. Yeah. I just want a challenge. And then sometimes I say like, that's a little bit too, that's a little too much. Too much BMC. Yeah. Old Beck. That's less often, but every once in a while, I'll be like, cause some stuff can get pretty glitchy. Yeah. You know, what's the word when it like, there's so much going on that it goes away from any sort of rhythm. Like it just like, it's like, there's a kind of art that's called brutalism. Like it almost gets brutal. Oh God. No offense. No, it's fine. Ouch. You can go after it sometimes. And I'll be like, hey, this is a part of the process. You know, you got to push the limits, right? I don't know. That's an extreme compliment, being brutal. You're welcome. I think if I had to pick one of my favorites, and I don't think that many people get to hear all of the best of it, is sunken barge zone. That's what I was just going to say. Okay. The original you made was great, except for like right in the middle of it, I was like, there really should be like a guitar and like a drum and like just a metal, just come in right here, like right there. I think I even gave you like a timestamp, like right here. You did, you gave me exact timestamp and you were like, make it brutal. You want a death metal, maybe you didn't say death, but it was certainly extreme metal moment. Yeah. Which is great. And literally you come back with like, not even kidding with you, like whatever was in my brain that I could not phonetically sound out for you, I could just like type it to you in Slack. By the way, if you're in the cheese hole community, like if you're in Slack, Breakmaster is in there. Don't DM and go crazy, but you can say hello. Ooh, yeah, DM and go crazy. Okay, go crazy. Do what you want then, I guess. I'm bored. That's right, that's right. If there's a reason to join the community, that's the reason to join the community. But like whatever was in my brain of like what they should sound like at that point, what you gave back was exactly what I thought it should be. I actually remember that cause I was happy about it. That's actually turned into, I was almost ignoring that whole conversation when it was going on. Like I just let it, cause you guys are riffing and I was just, I don't even know what we were doing at the time, but afterwards, and I didn't hear the end right away until I saw it in the playlist and it's called Sunken Barge Zone, Adam's Sudden Death Version. And once I saw that, I was like, oh, I got to listen to this. And it became the outro to our backstage podcast because it bangs so hard that lasts like 30, 45 seconds, whatever it is, it just goes insane. This is the only time you've asked me to do something that harsh, but not electronic. Like sometimes you're just like bash this together and make it super glitchy, but it's never just like grab a guitar, put on some corpse paint, you know, really lose your mind. I was in this like synthwave zone for a bit there too. Like I was thinking about like Miami Bites and I think there was another thing that I was like influenced by, but I was like, we really need to have some music around this, Pole Position, Pole Reposition actually is the name of it. But I was like, what's another game that is just like, so cool, but probably hasn't been played for a while by most modern day mainstream, like Pole Position. That's like the oldest of old. Yeah, I didn't even know what that was. And they have a really good song that is the theme of it. So Miami Bites, 1984. I can't remember the inspiration for that. Was that Grand Theft Auto Vice City? Or did we just say like, give us the 80s at Miami? Do you remember what happened with that track? How we came to that? It was like synthwave. It very much has like a Grand Theft Auto vibe, the 80s version. Well, if you had just said 80s, I would have gone with gigantic snare drum and it wouldn't have sounded the same way, but synthwave, you get all like saturated and covered in reverb and just picture neon colors. Yes. In fact, isn't there a track called like Neon Change Log? Yeah, I think there is a track called that. And then you were hooked on Halt and Catch Fire for a while. Still am. Yeah, that's good. I like that. That's more of the 80s style. Yeah, I think everything you did around the Halt and Catch Fire impressionism, I don't know what they have to call that, has all been really good. Like some of the initial stuff was like, ah, you need to, there's always a process to getting to the groove, you know? And once we're in the groove, we stay in the groove. Yeah. And like all the Halt and Catch a Tory and Halt and Catch a Cold and Halt and Don't Pass Go and Halt and Catch Fire and Halt and Hold Water, which was actually parentheses with different high hats. Those are all like being used in the intro, well, the intro intro of the change log now, like the opener. So they've sort of replaced some of the stuff there. It's been fun to do that. I like that stuff because you get to be earnest. You get to be earnest without having to feel embarrassed about it. Like there's no irony when you're being, well, when you're writing polka too, you gotta be just as cheesy as possible and just love it as much as possible. Right. Same thing with like eighties techno or seventies techno, I guess you want to be all craft worky about it. That's some cheesy goodness. Yeah. It's not worth doing it ironically or whatever. It's like, what's the point? Like do it like with complete sincerity if you're going to do it. Yeah. Where do you get all these crazy names, man? All these song titles. They're just like, they're almost sometimes even more fun than listening is just reading the track list. Yeah. I don't know. I've written many, many, many, many, many songs and I can't, I don't know. I've used every combination of English words. That's it. Yeah. You certainly don't go for brevity. You know, it kind of like the typical people who write song names, you know, like one or two words, like you're like, especially your library, your public library, because a lot of it's like, you're trying to describe what kind of music it is for people who are just like scrolling. So it's not really necessarily just a song title. It also has some descriptive, you know, words attached. I mean, I put little tags at the end for you to search, but. Yeah, exactly. But your ability to make me sometimes laugh, but definitely smile just by reading the track list is something I've always appreciated. I always wonder if you push the Linux file name limit, Jared. Are you on Linux BMC? No. No. You're on Mac OS? Yes. Wow. Unix based at least. Right. What's your character count of your longest track ever? Oh, like I haven't looked that up, but. I was going to say, you do count your characters, don't you? No. Yeah. I got it all cataloged in me brain. One of them is your glass eye sees the future. It's too bad you didn't have it when you ran with scissors. That's pretty long. That's a classic. See like, what is that? Where does that even come from? What is that? Sounded like glass and wait, was I actually tapping glasses together? I think so. I mean, a lot of the time it's just how I made it, or it's just, I need a sentence and I can't. I don't know, man. Dumb. Sometimes it's just dumb. How can you explain your art to us? Can you just describe how you art? How I art? Every morning I wake up in the yard. That's kind of what we're asking you, right? Like, how do you be so artistic? Oh. We're expecting like a straightforward answers as well. Right. It's like, I don't know. Let's do it. I disappear into the desert for 40 days. I come back with music. Yeah. I come back with a USB drive that like a number of toads handed me in the, yeah. Is that what you wanted? That was sufficient. I don't know, man. I mean, like I've written so many songs that it's just sort of about yes, period. Yes. I like it. I just like anything that makes me happy. And I do that. And then I do the next thing. You're welcome. One thing I did, Jared, recently is I found Breakmaster Cylinder in the wild. I do now. In an unexpected place, yes. What's that mean? I will tell you. So my son, he is getting into like the early stages of coding. And he has this thing on his iPad called an Osmo. And it's like this attachment on the top that points a mirror at the camera so that it can show you what's on the table front in front of it. So imagine the iPad vertical in like a stand and this attachment on the camera that points down so that you can essentially project things to the camera that the iPad can read. And it's the program on the iPad doing all the work with it. And there's an application called Coding Jam. And my wife just one day randomly goes into the about page of Coding Jam. And there's like credits for all the people. And there's the music credit, Breakmaster Cylinder. Yes. And my son obviously knows what we do, knows how closely we work because the albums are out and he's listened to our music all these years. And just like, now it's more and more real because we've got these two albums on Spotify. Like it's like really real now. You know, it's beyond the podcast. It's unleashed, so to speak. And then like, this is just like days ago, right there in the about screen, Breakmaster Cylinder. And my kid was like, like his face was like the, oh my gosh face for like Frozen. And he couldn't wait to tell me. And I took a picture of it and slacked BMC and said, hey, found you. Yeah. And that was it, found you. I love it when people DM me, found you. That game is so much fun. That was so much fun to write for. You had to write little, what, second and a half snippets of music. Oh, single bars. You write single bars of music for 20 different instruments and they all have to match in the same key. And then you make these little characters play whatever pattern you want. And they all overlap with other characters and it's cacophonous and it's great. My kid plays that like, he's only had it for like a couple of weeks now, but he's playing it constantly. I mean, he's had his Osmo for years now, but they keep coming out with new applications and new things to the Osmo world, like coding Aubrey and stuff like that. Like, I think that's different than coding Jam, which is similar, but not the same. Yeah, Aubrey like strawberries. Yeah, exactly. And it's the coolest thing ever. It's like physical coding. You put like repeats and counters in there and stuff like that to make the game move around. It's such a cool thing, really. It's really cool. And then just to see your music there was like, wow, that's, he's real beyond the things we know him to be real for. Oh, I'm real. Oh, I'm real. I did music for a lot of their games actually over a period of time. I guess my response to knowing that was why don't you self -promote more? And if you do, where do you self -promote? Because I don't see you doing that kind of stuff. No, no, I do not. I should. Is there a reason why? I don't know where to start. I get on Twitter and I say ridiculous things. And then sometimes people are like, will you write me polka? And I say, yes. And I say, yes. Yes. Well, we've never asked you to write polka. Although I'm tempted now because I'm a fan of Groundhog Day, Bill Murray and polka because I'm from Pennsylvania so that you can take those worlds and blend them together. That is literally the reference. The Pennsylvania polka, you know? Mm -hmm, mm -hmm, mm -hmm, mm -hmm. But seriously, why don't you self -promote more? Would it not make more business sense to be a bit more self -promotional? Yeah, it would. I need jobs. If you're listening, I need jobs. Thank you. Well, I think the inclusion of your name in the outro of podcasts has probably has produced for you a lot of leads, don't you think? I mean, that's how we found you. That's how we knew who you were was because

of

reply, all thanks to Breakmaster Cylinder at the end. And we're like, who's this Breakmaster Cylinder? We like this music. Let's go get some. Yeah, it's a silly name and I hide behind a mask and that I think has gotten people interested. Yeah. Also the music's pretty good. Yeah.

Oh, thanks. Well, you know.

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And season three tackles not just AI questions, but also how can we use technology to preserve the earth? Who influences the technology that gets made? And what happened to the flying cars we were promised? I think it's safe to say that the future of AI is both exciting and terrifying, so it's interesting to hear the perspectives of experts in the field listen and follow this new season of Trace Route starting November 2nd on Apple, Spotify, or wherever you get your podcasts. Well, this should be just a gushing fest because I feel like at this point, Jared, we can't, there's nothing we can give Breakmaster and not come back with something at least good. Oh, you should try though. Like everything has been like better than good in my opinion. Thanks. But I feel like at this point we've, we obviously haven't given him the polka request. Maybe we should and be serious about that one. I can polka -fy all your themes like we did Sega Sonic themes. We can, man, give me something that you think can't be done. Right. Something that can't be done. Well, I don't know, something really, really, you just said anything we come up with, you think I'll come back with something good and I want you to really test the limits of that. Okay. I think we have those. I think even like the Hall and Oates and Billie Jean one, that was an example of one. That's like kind of maybe easy, but I don't make music, but you merged those two songs together in a way. I think that's like, in my opinion, like that should go down in like music history because that is like an homage, a love letter basically to those two songs and that story. Like where else are you gonna get that in the world, right? That's cool as all get out. Nowhere but here on Changelog. That's right. That's right. That's right. Also they have to be sound -alikes cause I can't use any of the actual melodies. Right. So you just, you match the tempo exactly. You match the key, at least when you write it and you match all the instruments and then you get, you channel Oates. My next challenge to you is gonna be Succession. If you're familiar with that series on HBO. Didn't we do that one? Oh no, no. Someone just asked me to do that. I did it. I'll do it. That's great. You already did it. See, as a programmer, you just copy paste it into a new folder. No. I'd at least flip it backwards so you wouldn't notice. Yeah, that's true. You could do that. You could do anything to it. We wouldn't know. That's right. How many instruments do you play? Where do you source your music? Like the individual sounds, how much of it is you on a piano and how much of it is just like, I'm buying this sound off of a thing and then I'm downloading a sound and I'm integrating it into other sounds. I like a lot of WAV files and you can get those from anywhere. I don't care if they're high quality really. And I can sample things on my phone. And if you need high quality samples, a video is not bad actually. And I don't know, I don't really pay for virtual instruments that much. Sure. Except that Sega Genesis sound chip one, that was too good. I love that thing. I will just keep saying how great it is. I don't know. I have a guitar within arm's reach, but I can't play guitar. And here's a keyboard. I can play that. But I think mostly I use QWERTY. QWERTY? What is QWERTY? Q -W -E -R -T -Y. Let me tell you about this thing called computers. They're good. Standard keyboard. Okay. Sorry, was that snaughtier than I meant it to be? Slightly, but that's okay. I'll take it. Oh, I'm sorry. All right, so you play it with some keyboard slash piano or whatever. Yeah, keyboard, keyboard. Cause like it'll read the notes you say, but it's just hard to... It sucks. It's not good. It's really hard. Do you ever go out and when you say you use your phone and get samples, are you like actually making noises in the world and recording them? Or are you just, you're sampling off of somebody else's music or what do you mean by that? I do less of that now, but a long time ago I had this app that was always, always recording, which is just a privacy nightmare, but it was deleting everything after 30 seconds also all the time. So if you ever heard a sound that you liked, you've already recorded it and you have 30 seconds to press save, which is cool. And I would just record, you know, drunken businessmen or something and then put it into music or subways and such. But like, I don't know. I don't do all that much anymore. But you probably have a library now with tons of stuff. Yes. And it is unorganized. And I can't even tell you how that doesn't matter because you just search for the thing you need. It's like, don't. How do you search an organized mess? You just listen to them all? Yeah. You use a space bar and it auditions the sound for you. So you do the same way. That's how I do your tracks. I just hit space bar on one and I start hitting down. There you go. And you do the same thing only with probably tens of thousands of WAV files of like, you know, a thing crashed into a thing or like a bird chirping and then like a... I do, yeah. I try to put as many words in the file name that I might look for later. Just be like, birds, chirping, tweet, animal, meadow. Lofi head nod. Yeah, lofi head nod. So walk me through one process. So here, and I know that the process doesn't really matter to people, but I'm just interested. I asked you for droid sounds. Oh God, I'm sorry. Remember that one? Yes, I'm sorry about the droid sounds. I came back for even more. No, I mean, hey, when somebody buys more of what you're selling, that means you're doing a good job. I came back for more droid sounds. I was like, can you do more droid sounds, only a different droid, please? Yes. Now, when I first came and I said, hey, I just want a bunch of different droid sounds. Like, where do you, like, how do you make those happen? How do you do it? I pictured transformers, and I opened a bunch of dubstep wave files, and I just smashed the heck out of them. And that is because the very first time you asked me for droid sounds, I gave you just the harshest, most brutal Yeah, you did. Flip of robots assaulting each other noises. Like, make it cuter. I want a cute droid, you know? Yeah, we went more to R2 then. Yeah, R2. Oh, but actually, if you're going R2, then you need something like a 8 -bit, where you just make a round sort of sine wave tone. Although, they call it a triangle, but still. You make a round tone, and you just sort of pitchwarp it. And then you just do a bunch of variations of the same sounds to make different noises. It's fun. That's a fun job. Like, I don't know how to do that, but I think if somebody came to me, so that's kind of how I feel okay having ridiculous requests for you, because I just feel like you're going to be like, they want me to make a bunch of robot noises. Yeah, yeah, yeah, yeah. That's fun. I'm going to go make some robot noises, you know? Yes. Yeah. Would love to. Would love to. Well, I appreciate the robot noises, man. We use them all the time. Oh, yeah, my pleasure. I have this challenge on Changelog News, where I'm kind of, you know, it's scripted, and I'm sometimes quoting other people. I'm sometimes telling you what's going on, but then I also want to like have an aside, you know, or like a parenthetical statement. And how do you do a parenthetical statement with just audio? And so sometimes I'll lower my voice as if I'm kind of whispering it to you, like here's like, oh, but this is actually going on, and I'll go back to regular voice. What works even better is just a quick little robot noise, and then I do my parenthetical, and then another robot noise, and I'm back to normal. That works. If you ever wondered why I asked you for all those noises, that's pretty much the reason. I figured it was for insidious personal purposes. I did that recently with an editor's note on one of the Changelog, I want to say it was the Kevin Ball Friends one, when I like had to come in with an aside, essentially, like you're saying, a parenthetical. I wanted to clarify the history of Kevin and stuff like that. I think that was it, if I recall correctly, but that was fun just to like do that, because without the Droid sound, it would have been, or the sound library, I think I chose two, obviously, one in, one out, but without that library, it would have been like, hey, by the way, exactly, just changing your voices or whatever. Right, or sometimes I'll include a clip from an episode, and if that clip starts with me talking, it's really weird to introduce myself, because then it's like, well, when did I stop introducing and start talking? Because a lot of times like a clip will start with me asking a question and then a guest answering it, or Adam asking, et cetera. You got to go atmospheric and change the world of it entirely. Right, so just little stabs, little droids, they just work wonders for providing that. You could pan yourself like 30 to the right. I actually tried to insert it once, it didn't work out, was, do you remember in Wayne's World, where they do the bloop, bloop, bloop, bloop? Oh, yeah. That's basically what I wanted to do with audio. I actually used that one time, it just didn't cut out very well out of the movie, to introduce a - Why don't you just do it, or I'll do it? Yeah. Or I'll ask someone on the street to do it, and just go bloop, bloop, bloop, bloop, bloop. Okay, so I don't actually remember how the sound goes, but yeah. Something like that. We can do that. I'm here for your sound needs. We should do that. We should do that with BMC Beats, yeah. Versus the, just recreate the Wayne's World sound. Yeah, wind chimes will do it. The problem with it, I think, in the movie is, it has another song that undercuts it, as they're fading out, and it makes it hard to use. I think it was Ballroom Bash. Ballroom Bash? Is the song that comes in? I'm pretty sure it is, like it's the beginning of it, because it's on repeat at the end, right? Isn't there like three different endings, and that's when that is repeating over and over? Oh gosh. Yeah, because it's like alternate endings, yeah. Yeah, it's like, welcome to the Ballroom Bash. I can't remember the, I can't sing it, but. It could be, it could be. Head into the Ballroom Bash is the lyric, in the, like the main. Or is it not Ballroom Blitz? Ballroom blitzed. I don't know. See, good job, BMC. Oh yeah, that's good, BMC, you got it. That's a pretty good song. Yeah, head into the Ballroom Bash. Ballroom Blitz. Yeah, I had it, it's Ballroom Blitz. Wayne's World actually introduced me to Bohemian Rhapsody as a human. Like, I didn't know the song prior to Wayne's World. And Wayne's World is old, I mean, early 90s, right? Like I was a kid. And I mean, I fell in love with Bohemian Rhapsody because of Wayne's World, and I still love the song to this day. I think we'll go with a little Bohemian Rhapsody, gentlemen. Good call. I see a little silhouetta of a man. Thanks, Wayne. Thanks Garth. Yeah, thanks Garth. Already on. On that note, we do need a Ballroom Blitz rendition. Let's make a list as part of this podcast. Okay. Okay. I don't care if you've done Succession before, you gotta do it again. Okay. And Ballroom Blitz is next on the list. And definitely some Polka. Two things was too easy. So I think you need to come up with three things to merge, Adam. Okay. For the ultimate challenge. That'd be nice. We can have a follow -up. Here's what BMC came up with based on this. Or we can put it into the show if it's fast. That's how fast or slow it is. We need some ideas. It's lots of ideas. We need so many ideas. You know, you could say borrow the melody from Pennsylvania Polka and that could be enough is like the nod to Polka. Yeah, right. It doesn't have to have any of the instruments. Like that could be just like the nod to it. Doesn't have to be actually Polka. All right. So Ballroom Blitz, a nod to Polka. Not too much, you know. It's gotta be that you can point to one element of the song for each genre and say that's what that is. There you go. That's right. And then just a little bit of Grand Theft Auto Vice City. And I think we're good. Sure. Okay. What about these albums? I mean, we finally collected the music together in a coherent way to release on the streaming platforms. Bandcamp is there. Spotify, iTunes. Stream or purchase. It's cool, right? It is cool. You're not asking me, but it is cool. I think it's cool. He thinks it's cool. And what do you think about Changela Beats versus, you know, under the Breakmaster Cylinder name? What are your thoughts? We got some questions about that from our audience. Like, hey, why'd you do this under your own thing versus like under Breakmaster Cylinder? What are your thoughts on that? Wasn't that your idea? Well, were you upset about it? And were you like, man? No. No? No, I'm not upset about it. You're like, I'm the artist here. Am I on there somewhere? No, I'm not upset about it. Yeah, you're on there. All right. Cool. I don't know, I like, you know. No, you are. You're the artist. Wait, I am? Although it wanted your full name, so I put first name Breakmaster, last name Cylinder. Does that mean it'll show up on my spot? Okay, well, I'll just, I'll look at that later. I'm not sure. This is a whole new world for me. I've never been a music artist before. Don't you dare close your eyes. Nor am I now, but I represent one on, on streaming platforms, you know? You're a label now. Yes, I am. It was Changelog Media is the label. Yeah, I thought the name made sense. I mean, it's obviously a collab and we don't hide that you are the actual artist anywhere. So it's not like we're trying to like act as if, but all of these songs are Changelog exclusives. They're inspired by our style, right? You made them for us. Makes a lot of sense. Like this is the music from the Changelog podcast. And so. It makes sense as Changelog Beats. I think it makes sense. I think it makes sense. Now, the real controversy is I didn't spell it B -E -E -T -S. I know that's one of your moves, BMC, is the reference to the plant, the beat. Yeah. Which I always thought was cool and funny, but then once I, you know, once I was actually gonna put it out there, I was like, are people gonna find this if I spell it wrong? No, maybe not. Yeah, so I went with the standard spelling of beat, but we, for a long time, even when I would script out my thank you to you, I would write it B -E -E -T, because that's how I was thinking about it when I would say. Yes, you do do that a lot. I like it too. It amuses me, but like it's already hard enough to know how I spelled break master.

Yeah.

It's supposed to be a car part, but it is not spelled that way. I have one on a chain somewhere. You got a break master on a chain? Mm -hmm, a cylinder. I don't know what it does, but it goes on a car. How'd you come up with the name? It's the name of a car part. So are you in the cars? No. Well then why? It's, you know, funk master flex adjacent, grand master flash. Yes, it is. You got to break master cylinder. Gotcha. I think it's an old joke. I've probably heard that before. That's not that clever. Yeah. Yeah. It works. I need a good name. Can we brainstorm a good name for me? I'm done being BMC. That's a tough one. And that's not terrible. How about Zelda Trap Jazz? Is that an album name or an artist name? This has been described by one of our listeners, how they describe your music on our podcasts. Zelda Trap Jazz. Oh yeah, I take that. That's good. You like that? Zelda Trap Jazz. That sounds accurate, yeah. And then a more recent one. I can't remember if I actually told you this or not. I think I did. And you chuckled. I bet it's good. This was a recent guest on JS Party. And he said, I didn't know that your theme song was gonna be robot dance make -out music. You like that one? I love that one. Robot dance make -out music. I thought that was quite a compliment. That is definitely a compliment. The make -out part especially, I think, speaks to its resonance. Yes. There's something intimate about that. Yeah. I guess Bjork did that. Oh, really? Well, I don't know. Just trust me. Okay. That's her vibe for a while. Just trust me. I'm not gonna fact check that at all. It was a music video, but it was like 15 years ago and who cares? Like I could talk about it, but... Artist name though? Robot make -out music? What was the first name? Nah, not really a good robot. Not really good. You know what's the worst artist name? No, please tell us. Leonard Cohen. Leonard Cohen. Why? I don't know, it sucks. His parents should be ashamed. Dude. Oh, that's a call -out. This is a good call -out, I love this. Tell us more, explain. If nothing against Leonard Cohen or his parents. Just the name, not the music? Yeah, I was just aiming for, okay, you know. No, I get it. I just needed a thing to say and then I said it. That's funny. And now we're gonna start beef. Yeah, Leonard, is he alive? No, he passed away. Oh, so you can't get beef with someone who's dead. Oh, okay. 2016, that was when the Hallelujah song came, became a little bit more popular because I think SNL did a rendition of it in their cold open as like a thing for his death, I think. Something like that. You gonna sing too? Sing, you gotta sing. I know Wainwright, not Rufus Wainwright, Loudon Wainwright. Oh, one of those two, they sang a version of that. I don't even know if I know Leonard Cohen's version. Yeah. This is important, let's discuss, ad nauseum. What about names like Bob Seger? Terrible. Terrible? Yeah, who thought of that? I think his mom did, or his dad. I'm sorry, Bob Seger's parents, man. I just keep stepping in it. What about a name like, you know, Adam Stokowiak? Too long. Very good, very good, no, I like it. That's a good name, right? Yeah, six syllables is nice, for one thing. It's got the hard consonants in the second half. It lures you in with the Adam part because it just sounds sort of. Oh yeah, this is simple, oh no, it's hard. Everyone knows an Adam. That's right. This is simple, oh no, it's hard. So I actually think this idea of dissing on other people's music names could really get you into the limelight. Like, you know, this is the way they do it in the rap game, this is how they do it a lot in like the NBA and stuff. Like, you gotta have beefs. That's right. And you can't pick on Leonard Cohen because he's passed away. But if you come up with somebody else, like Moby, maybe Moby, you wanna start a beef with Moby? Oh, don't get me started on Moby. No, we're not talking about Moby. I got things to say about Moby. Please, no, no, no, start on Moby. I have opinions. No, what about Vampire Weekend? They do not sound like a band called Vampire Weekend. That's true. That sucks, come at me. Okay, I love it. You hear that, Vampire Weekend? Oh, I was asked to do a sea shanty parody of Moby's extreme ways. What? Yeah, it was great, it was fun. Did you do it? It was for a show, yeah. It was for a show that was tracing his claim that he's a direct descendant of Herman Melville. What the heck's Herman Melville? He wrote Moby the Dick. Oh, well, that makes sense. Yeah. There's some history to Extreme Ways. Are you familiar with this history? I love music history. I love... Tell me something to like about that song, just anything. Okay, it was an unexpected hit. And it wasn't a hit until it was part of the Bourne movie franchise. Like it was basically obscure and unknown until they picked it up. And then for two of the films, because it was four Bourne films. For two of the films, it was the exact studio version he produced. And on the third one, they're like, we can't do the same one again, but it is the theme song basically for Bourne Identity and for the Bourne film series. And so he went and re -recorded all of it. Vocals, back to the drawing board for everything, instruments, everything. And did the same thing again for the final film, which I believe was just called Jason Bourne. And so like, I think from what I understand about Extreme Ways, this is like his big hit really, one of his big hits. Extreme Ways was a single from my album 18, and it got licensed for the first Bourne movie. The first two Bourne movies used the exact same version. And then the third Bourne movie, I re -recorded the whole thing. All different vocals, different instruments, different everything. And so now for the fourth Bourne movie, I'm re -recording it one more time. It was basically obscure and unknown until the Bourne Identity, the movie. And you like that about it. I do? No, I was asking Adam, because he said that it's something that he likes about it. Yeah, no, I got to. Oh, and you like that about it. I'm curious to hear what Brave Mass is telling things though, because that's kind of cool. I like that about music, that there's something that sort of like made it from nothing to something or whatever it might be to go from zero to one, you know, or 0 .5 to one. I think Scorsese doesn't return my calls. You're not bitter, are you? What? No, who even is that? That he was obscure and then old Matt Damon popularized him. That's cool. Yeah. Yeah. Well, I guess the question would be this. Like, I know you were probably half joking at least with the Scorsese comment, but you know, you are famous to us and I know we're a small crowd, but globally present. If you got a call from, you know, Hollywood basically, in quotes Hollywood or whoever that might be. Hello, Hollywood. And you became, you know, Moby level famous and you were in the, you know, you were interviewed for the extras of the Bourne franchise so to speak. Like, would you want that? Would you even want that kind of fame? If I can still hide, can I do exactly what I'm doing now? But just, what do you mean? Like if I scored a big movie? Yeah, like if you scored a big movie and you were, and Breakmaster Simulator was a household name at that point, basically a household name. I'd like to be a household name, sure. But I want to like, I don't want to be in your households. I'm going to stay down here. Just your music. You want your music in our households. Just in audio form, right? Yes, I really do want my music to be there for you to make out to. You want more people to listen to your music. Your desire is not fame or anything like that. It's more people to listen to your music. Is that fair? Yeah. I like it. Maybe you will like it too, you know? I'm here with Lazar Nikolov, developer advocate at Sentry. Okay, let's talk about your live streams. You're constantly building something and live streaming it. Give us a peek behind the curtain. What do you do in your live streams? What can we expect if you watch?

Yeah, so at Sentry, that's even how I started. I started to build a mobile application or tracking expenses in four different frameworks because I wanted to explore basically the DX of the four most popular frameworks, Swift UI, Jetpack Compose, React Native, and Flutter. Then I moved on, during October, of course, we did the Oktoberfest where we tried to fix a bug in the React Native SDK, and that was really cool. And what else? For example, right now I'm streaming on, and I'm usually streaming on YouTube. I started building a really cool project that I wanna call the Errorpedia. So it's like a Wikipedia of errors. So my idea was to just build a website that enumerates famous frameworks, like used frameworks, and what errors can be encountered within those frameworks with a little bit of explanation why they happen and also how to fix them. I had an interesting choice of technology, so like Astra for the whole website because of its ability to embed react components or view components or solid -swelled components, and these are frameworks that I wanna cover the errors from. So like the whole website, the whole doc site, would be just Astra and Markdown, but when the interactive example needs to happen, I'm just going to export that from a package in the monorepo. So that was interesting, and I started building that, and it puts me into this mode of thinking about errors, and I was like, okay, we can do these errors, and we can do these errors. I started to compile a list of errors that we can document, and I started thinking about, you know, what about errors that don't necessarily break the page? I mean, did they break the page, but they don't produce errors in the console, right? There could be responsiveness errors, like mobile or tablets, something like that. Something gets pushed off the screen. There's like an overflow hidden on the body. You can't really access that, you know? So it breaks the flow, the operation flow for the user, but it doesn't produce anything in the logs, right? Maybe there's, maybe we're talking about, I don't know, Firefox or Safari CSS issues, because we know, especially Safari, when you're building something for Safari, those who do front -end, things usually break, but they don't produce an error. So I was thinking about that, and I was like, okay, we have all the tools in Xendry. So yeah, that's what I'm doing right now. I'm streaming, building that widget that lets you start the recording and send it to Xendry.

Okay, if you want to follow along with Lazar, you can follow him at youtube .com slash Nikulov Lazar. We'll put the link in the show notes, but it is youtube .com slash N -I -K -O -L -O -V -L -A -Z -A -R. Lots of cool live streams, lots of cool videos. Check them out. Again, the link is in the show notes. Also check out Xendry, you know the drill, Xendry .io slash changelalpod, that's S -E -N -T -R -Y dot I -O slash changelalpod. And make sure you use our code changelal, they get you $100 off Xendry. That's basically the team plan for free for three months. And this is in addition to their completely free developer plan. Once again, Xendry .io slash changelalpod, and use the code changelog. I think that's what you're wearing today, sort of dovetails right into this because I think Sia attempts this or has attempted this. Now I know she's not invisible, she has been seen, but as an artist, she tends to hide herself as part of her persona. She's like off in the corner and she's got like no limelight on her, but she's like present in the scene as an example. And she's got somebody else there doing something that's there the real attraction visually that hasn't helped her hide at all. She's still Sia and people still know who she is as a person. They do know who she is. Does that mean we're both introverts, you think? Or is she just like being artistic? I mean solely, solely artistic. Right, I don't know much about her to answer that. No, I mean, if you were an extrovert, you'd put yourself out there, I don't know. I like her wig, that's a good wig. I think my interpretation of Sia is at this point, it may have begun as being anonymous, but I think it's evolved into a persona and an art, really. Right, because like the girl, which I'm not even familiar with all the real details, but there's a dancer, I don't even know how to describe her art or what she does. I just know she like dances all this stuff. And like it's the same girl that's been with her for like a decade, you know? And so like she's got her ensemble and it's her crew and they're the same and they keep doing like, you know, revisions to that, to the art, essentially. That Shia LaBeouf one was super awesome. Like did you ever see the music video for that one? No, gosh. Elastic Heart is a song. The video is just super cool. It's just them dancing basically. And it's a story through dance. There's no words and you've got the Elastic Heart song going on and it's, you have to see it. I think if you saw it, you'd be like, that's pretty cool. All right. Like I think you could pull that off, a version of that, but like with robots and stuff. Can you dance? Can I dance? Uh, no. If you're gonna pull it off, the way that Sia. Well, she wasn't dancing. Sia wasn't dancing. Like it was her dancer and Shia LaBeouf. Well, see, can I work with a dancer? Could you? Like I like the crossing disciplines and you end up with interesting stuff, but I can't dance, no. If I was your manager, this is what I would do for you. If you've seen the film Interstellar, there's two robots, artificial intelligent robots in there. One called KACE and one called TARS. And these things are like, I can't even describe them to you, but they're like not like you would imagine robots of the future. I'd give you those kinds of robots and that would be like your dancers. Oh, okay. Yeah, super angular and clunky. Yeah. You know what I mean? Like that's your style, glitchy robotics. Yeah. Those robots always strike me as so weird design wise. Yeah. They look so ham -fisted or whatever the robotic equivalent of ham is. Yeah. I'm over here trying to think what the robotic equivalent of ham is. I'm like, hmm. I was just like, what are they going to say? Leonard Cohen, huh? What a terrible name, Leonard Cohen. God, you're Leonard. I want to start a punk band called Negative Attention. Doesn't seem just like exact, nevermind. Negative what? Attention. Oh. You're like, why are you guys standing on the table? Get down here. What's wrong with you? Can you talk about some of the things you've done and are doing on YouTube? Like your re -score of Mad Max, Fury Road and. Oh, I want to do that. I thought that was just like phenomenal. I love that. I so badly want to do that. I asked for too much. I'm going to kickstart again maybe and start small. It just takes a long, long, long, long, long time to do. Can you tell a story for Jared and the audience? Give them a, what your idea was. It was on Kickstarter, but you had this, we DMed a bit about some of this and I think it was like before your Kickstarter and then I saw your Kickstarter and then I was like, this is super cool and I'm asking the question now. It is the first fight scene, no drive, car chase scene from Mad Max, Fury Road. It's what, 16 minutes long or something? It's just some real epic what's it to start the movie off and I erased all the audio and I'm trying to re -score it which includes music and includes, I mean, I don't have them speak at all but whenever Max is talking, it's my pug. It's like, argh, argh, argh, argh, argh, argh, argh, argh. Yeah, very gnarly. Yeah, I redid the guitar solo for that guy who's like strapped to the big rig. He's got like a skull mask and he's shooting fire of it. I made that sound more like you're walking into a guitar center and someone who doesn't know how to play is just kind of noodling. You know, one of the war boys is listening to Gary Newman as you pass by, as the camera passes by. You're in my car. I feel safe as to the full. That's out there on YouTube right now? I did like two or three minutes of it and I love every second of that. It's so much fun but. It just takes too long to do. It takes a long time and it would be a dream job to get paid to keep doing that and I'll keep doing it. Immortan Joe always has his blinker on. I gotta wash this. Is this like Foley type stuff or is this all instrumental creation? Like, do you do any Foley? Not really, I mean it's just time consuming when I could type freesound .org and just find anything I was looking for really. Like I didn't go out to a car and record the turn signal. Right. Back in the day, I've shared this before but you know, early in my career development when I was like just basically dreaming of where I can go, I wanted to get into audio engineering for films essentially and I always loved the idea of Foley because it's just so cool how they can make, like imagine John Wick, you've seen that movie. Like those, I don't want to break your heart or anything but like those sounds aren't actually on the scene. Like somebody in Foley is behind the scenes remaking all those sword slices and hits and thuds and whatnot, like that's all. They're punching meat. Somebody's full -time job to create that stuff and I think it's cool how you can do that. I've never had the patience for it but it's cool that you can do it and how much creativity is involved in taking crunching ice and turning it into like a bone snap. That to me is pretty cool. Totally. I want to know all their secrets but I don't want to do it myself. Right, you want the easy button. Yeah, I just want to know. It sounds like fun. It seems like something I'd have to really dedicate time to and I don't care that much but it's super cool. Yeah. I mean like I don't want to do it. I'd rather write polka. Well, let's get you writing some polka for us. Slash Grand Theft Auto. Slash, what was the third thing? I forgot already. Ballroom blitz. Ballroom blitz. Ballroom blitz. Yeah, that would be kind of cool. It practically writes itself, BMC. It practically writes itself, doesn't it? Well, the tempos aren't anywhere near the same. The genres are basically polar opposites. You asked for a challenge. Yeah, break beats and piano for succession. Full Avante's rock band. No, it's post -punk. It's gotta be post -punk. Early 80s. Hi, how are you today? Can you give us a glimpse behind the scenes? I know Jerry kind of asked one of these questions but I'm curious how you work for us. I'm curious how you work for others. Like when you get new gigs, like how do you structure what you do? How do you make sure you say yes when you need to say yes and know when you need to say no and make sure you can balance your life? Or is that just like a struggle as an artist? I essentially just say yes. To everything? Yeah, if I can do it. Okay. Yeah. And I have a text file. And there's nothing you'd say no to? Um, God, what if I said no to? This is gonna be transcribed on the internet forevermore. Oh, man. Yeah, I said no to one or two, I think. They were getting really weird, like racist or exploitive or just like, no thank you. Oh, okay. Yeah, that's an area I wouldn't go out there as an artist. I'm thinking more like a challenge no, not are you gonna offend a large population of people on earth? That's definitely a no for me. Wait, how can I do that with music though? I do wanna kind of be, you know, Stravinsky infamously, the people at his premiere of Rite of Spring were so freaked out, they just like rioted and really destroyed the place. It was too intense. Now, what can I do musically to freak out a sizable amount of people? I would love to know. Like really, if that's the job, I don't even know where to begin. That would be. That's a challenge. It is. I don't even wanna hypothesize. I'll get mixed in your dirt. I don't wanna be involved in your dirt. My dirt. Guilty by association or what do you mean? That's right. I mean, I don't wanna give you any ideas. Right, like I got this from Adam Stokowiak. That's right. It'll be for art. It'll be for art, it's okay. It'll be a social experiment. What's your favorites? Like what do you, not so much like what's your favorite music as we've already kind of asked you that, but like what really gets you going? What excites you about the process of creating? I feel pretty focused sitting in front of a computer. Okay. That does a lot for me. I'm not very focused. It is, I am a different person. And I don't know, man. I just wanna create something all the time. I'm itchy to do this all the time. What are your favorite tracks on Next Level by Chainsaw Weeds? Like there's a bunch of tracks on there. If you had to pick a couple that are your faves. Dracula's Purse, I like. Yes. I actually had never heard Castlevania because I can tell you two really told me you enjoy Castlevania. Mm -hmm, yeah. That's the opener. It's a good style. It's like complicated. It is, it's a great opener. I guess that must be why. That's such a good track, honestly. I mean, like you couldn't have nailed the head better. I mean, obviously it's the second track because cartridge intro was a requirement, right? You had to pull the game out or whatever it is. You're blowing it, you put it back in and then you got the little interstitial and then you got the walking sound. Da da da da da. I mean, just like the way it comes in, it's phenomenal. Yeah, like Kung Fu. Yeah. Yeah. Well, Castlevania's what I grew up on. Like I think my all -time favorite game ever in the history of all games of all the worlds and universes and multiverses. Oh my God. Is the OG original Castlevania for NES. Like there is no better game. You can watch the, there's speedruns on YouTube and there are human beings that beat this game in unbelievable speeds. And they are so unbelievably skilled at the unique technical nuances of like frames and all these different things to like beat that game. I think in under six minutes, I think is like six minutes and some change, end to end. Is there some kind of warp to the end? Cause how do you get through every - No, there's no warp. It's beating every single boss. That's ridiculous. How are you doing that in six minutes? Yeah, every single boss. It's like immediate kill hits on the bat originally. If you hit it in one way, you can do a whip strike that takes all of its power in one whip hit.

It's a

special way you have to time it perfectly with the frames. I don't know how they do it, but they're amazing at it. And they can beat that game in six minutes. That is super cool. There was a guy online who was beating Super Mario 64 with a blindfold on. Oh yeah. Well, that's just showing off right there. That's just showing off. Yeah. Hate that guy. Hate that guy. I'll probably throw a link in the show notes, but if I don't for some reason, but I promise to do so, just search for Speedrun Castlevania and you'll be thoroughly impressed. There's several of them over the last half decade of people doing it. And then one of them that has become just like the ultimate champ, like nobody's ever been able to beat this person. And he's like smoking a cigarette between breaks. It's just hilarious behind the scenes of like this person, they're like live streaming. He's been playing it for 24 hours straight, trying to get to the best. He just like playing it over and over and over. And finally he gets the ultimate high speed. Like practicing a piece of music even. Yeah. There's other people out there that are super fans of Castlevania that will say, no, no, no, Adam, the real good Castlevania is not the OG. Sure, that was good. But really the best one is Symphony of the Night, which was on PS3, which I will just say, yeah, that's probably the second best game ever. And the music from that game is phenomenal as well. So just saying, if you want to go check it out, BMC and make some music, you know, it'd be good for you. PlayStation three. So that's gotta be completely different. Oh yeah. It's gotta be like orchestrated. Listen, when you go in, if you haven't yet, when you go check this out, you're gonna be like, okay, I'm gonna start making right this moment immediately. There you go. Great. I need inspiration. Need an excuse, really. Everything from like operatic sounds to metal sounds to, I mean, you're gonna be, it's a genre busting soundtrack. Oh yeah, yeah, yeah. Okay, totally. Very cool. We talked about Next Level. You're currently working on our next two albums. We're taking Next Level and going beyond, we're calling them working titles, may end up being the final titles, Dance Party and After Party. Some of these songs that we've been talking about are on these, the Adam Sudden Death Barge Zone, whatever that's called. Miami Bytes is on there, 1984. Poul Repositions on there. These are all songs that we love, but didn't make it onto the first two albums. Cause the first one was obviously theme songs. So you can't just throw random stuff on there. Yeah, we got some remixes and stuff, but they gotta kind of be our openers, our closers, and some remixes. Next Level had a very strict genre. In fact, we kind of, our first version was 8 -bit only, but it was just leaving out too many good tracks that we had that were still video game inspired, but happened to be like Super Nintendo and beyond. So we changed it and we said, well, we'll go 16 -bit. And so that's kind of the second half of Next Level. It starts very 8 -bit, it gets 16 -bit near the end. Talk about what you're putting together. I have seen some working track lists, but you're holding back or you're still working on it. You're not holding back, you're just working on it. Talk about it. I'm holding back. The dance party one is just deliberately did not put any of the like four to the floor, techno -y, own songs on the other two. Right. Because they can all fit together and you have yourself a nice little continuous mix maybe. Like I'm Paul Oakenfold and it's 1993. Paul Oakenfold, that's a deep cut. Is he still doing stuff? Probably, just being Paul. I haven't heard that name in a long time. Lincoln Jones, perhaps? Uh, no, I don't know that one. That sounds really funny. You don't know them? No. So, Lincoln Jones, I had listened to, they have a lot of ambient, a lot of relaxed stuff. Oh yeah. They have actually like an entire series of albums called Relax. There's one called Silent Piano that's really good. And it's like go to sleep music, it's very chill. They also do kind of like the typical trance from the 90s stuff. I don't listen to that stuff of theirs, but when I think of Paul Oakenfold for some reason, I also think of Lincoln Jones. But their chill stuff is really, really high quality in my opinion. So there you go. So you got Dance Party, it's gonna be high BPM, right? And it's gonna be, no? Well, I don't know. For me, high BPM is like approaching 300, but. Okay, so maybe you're edgier than I am. Well, okay, but when you're at 300, you're also at 150. So like it isn't necessarily edgy. Sure. Oh, but that's true. If I go up to like 170 or 180, then we're in the 300s. I don't know, man. Oons, oons, oons, oons, it's that speed. Sure. I don't know what that speed is. That's like the dance speed. I don't either. It's actually a genre, oons. It's the oons genre. So is gent, which is D -J -E -N -T. And it's when you palm mute a guitar and go, gent, gent, gent, gent, gent, gent, gent, gent, gent. I like that. He's vocalizing the struggle. I think I've personally had Jared all these years of like how to describe. What you're looking for, what you're thinking. Yeah, exactly. It's just, just challenging. Gent, gent, gent, gent, gent. And then after party is, you know, it's chill -ish. You know, it's gonna be lo -fi stuff, which we have plenty of, but I think I'll, are you saying you're gonna expand some of those tracks to make them longer or that's what you're saying, or are you talking about the track list? No, I try to hit like 40 minutes or so, 44. Somewhere in there is a sweet spot for an album because I'm already itchy after like a song gets past two and a half minutes. So you don't wanna go too long, but you also wanna have an album. Some of those were just like snippets made for interstitial stuff for the shows. So they're like 38 seconds long. And if I will just double them. Yeah, I thought I would actually, that was my concern, I think, with initially putting out an album. It was not in your skills and abilities. I was just thinking like, do people want to listen to this track for beyond what we think is usable really for our kind of primary purpose. And now on the other side of it, I think of the 4 ,000 or so listens we have on Spotify, Jared, I know I'm like at least half, maybe a quarter, because like it's in my, like I get in the truck, I'm playing it on the way to work, I'm playing on the way home, like it's my soundtrack. I'm just like in these beats, our themes and everything. Like I'm just playing our top tracks. Like I'm not going to an album and playing the album. I'm going to our top tracks and just like letting it roll. At least now, because now it's kind of kick -started a little bit. That's awesome. And it's just like the coolest thing ever. I thought I would not enjoy it as much as I actually am. And it's kind of strange, honestly, I didn't think that people would be like past 30 or 40 seconds liking the track anymore. That's good to hear. I think you actually said something that inspired me for the next level one. You're like, when I'm working on a level that's really hard, I will listen to that music in the background. That's like a 40 second repeating snippet. I will listen to it for ages and lose track of time and I won't be thinking about it and won't annoy me. And then we're like for difficult life projects or work projects, you just have a soundtrack where you're constantly leveling up. Totally. Totally. Yeah, it's good stuff, BMC. We certainly appreciate it. My kids are super into it. They like to ask, although they said that their echoes can't play it yet because we're not popular enough. And so when they say play change log beats or something that plays like some other artist that sounds similar. So we have to take that artist down and destroy them so that my kids can just tell their devices play change log beats. It's just like, this is Leonard Cohen from Jared Spotify. Yeah, exactly. Back from the grave to haunt you. Man,

knock it off. Do you have any games from your past BMC that we should try to bring into the fold like a Castlevania or whatever? Oh, I was always super Mario three and just like settled on that as the best game ever. I know it's not, but I like it. What about Pitfall? Does Pitfall have a sound? That's going way back. That's Atari, right? Yeah, I don't even know. Did we ever do, I feel like we did Excitebike, didn't we? We did. Yeah, yeah, yeah, yeah, we did. You can't remember what that track ended up being called. Probably the words Excitebike with one letter replaced with a different letter. Definitely did some Excitebike. Excitebike. All right, BMC, anything left unsaid? Anything that you've been dying to get off your chest or you just want to say to changelog listeners before we let you go? Nothing relevant. Okay, well, if it's irrelevant, I'll take it. Did you know elephants can't jump? Did you know dim sum menus are mostly really good names for my pug? Did you know? The muffin man, I don't know, man. You were on a roll. Did you know the muffin man? I think that's a good one to wrap it up on. Oh, gosh, yeah, okay. You can't jump and not bend your knees. Did you know that? You can't jump and not bend your knees. It's very challenging to do so. Your son actually proved it. It could be done, but yeah, I digress. We were challenged to do that at our most recent conference. Really? By our friends at Tailscale. I mean, you walk by the Tailscale booth and they just start challenging you and stuff. I don't know. It's a weird thing to shout at someone. But jump without bending your knees was one of the challenges that we had to step up to. You're gonna have some massive toe muscles. Yes. How does one work out their toes? Well, let me say thank you to you, Breakmaster, for just saying yes, you know, when I bent the knee and I asked you to join the fold. I am honored. You know, I've said this a thousand times, at least on the podcast. I really don't think

that

it would be challenging to do what we do and sound as good and unique, like Jared and I's voice, like they're, you know, we're whatever, and the people we talk to. They're whatever as well. Super cool. Yeah, but I think just like the cherry, you know, the secret sauce on the inside of the cake and the cherry on top is what you do for us. I really believe that. And it will be a sad day if ever that changes. And it would be really, really hard now to like ever think about working not with you. Like I really thoroughly enjoy the relationship over these years, working closely with us in Slack. You know, when we first were working together, we actually had like 50 ,000 response email threads. It got really challenging to like maintain it. And I'm like, just come in Slack. And you came in Slack. And like ever since then, like it's just been easier and easier to work with you. And obviously like there's nothing we can throw at you. And you also bring so much to us as well. Not like just only us requesting. You bring a lot of interesting things too, because you've got your own influences and whatnot. But it's just such a blessing to work with you. So fun to work with you. I couldn't imagine like our podcast without your beats. Oh man, that's really nice. I love being on this show. For sure. And we'll keep doing it as long as we keep doing it. Yeah, you sound like you know something I don't. You're like, I can't imagine the day. This has been a long drawn out way to say that we're gonna have to let you go. No, no, no. I don't even mean to be morbid, but like just like I'm old enough that I've seen people pass away. And I don't really mean to be like that, but we're humans. We're gonna have an end to our humanity. And it could be me. And it could not be you taking the hike. It could be me or something. I don't know, just anything. But I couldn't imagine it would be a sad day whenever the day comes to not have a chance to work with you. Yeah, thanks. I had something to say and I totally forgot. You are being real. Just being real. I've just thoroughly enjoyed everything. The whole thing. Like 10 out of 10, we'll buy again. That's my review. Thank you. Or unless you were talking about existence in general, but either way, yeah. Both, yeah. I'm gonna reserve judgment until I hear Ballroom Blitz, Polka, Grand Theft Auto Vice City, and then I'll let you know whether or not we're gonna continue this relationship. Grand Theft Auto Vice City, you mean like the Synthwave? Because otherwise they have a lot of channels, don't they? I'll get you a sample. Okay, thank you. That's always easier. That's always easier. Not the music from Grand Theft Auto. The vibe, BMC. Capture the vibe. You wanted a challenge, didn't you? Oh, okay, yeah, yeah, yeah. The vibe, yeah, that's true. Yeah, yeah, I can do that. Yeah, we can do it. You can do it. Make them do it. You can do it. All right, that's the show. Thanks for hanging with us, everybody. Thanks, BMC. Oh, no, thank you. Thanks, everyone. Bye, friends. Bye, friends. Okay, friends, that's it. The mysterious Breakmaster Cylinder has been unmasked, or at least unvoiced. I don't know. Well, you heard his voice. That's the real Breakmaster Cylinder. That's not a stand -in or some sort of voiceover. That's the real deal. That's the real deal. Breakmaster Cylinder, the beat freak in residence, as we call him. And really, this was just such a pleasure to sit down and do, because obviously, Jared and I have been fans of Breakmaster for pretty much a long time. And this is a first. This is a first since the working relationship since 2016. And so it's a new day. It's a new leaf has been turned. And I think that Breakmaster wants to come back on more often, so we'll see. But nonetheless, this was a trip down our musical lane, our interests lane, a peek behind the veil of how we make beats and how we create beats and how we work with Breakmaster to make beats. And it's just a, it's cool. It's a cool thing. And I'm glad you're here for it. Once again, a big thank you to our friends at fasty .com, fly .io, and also typesense .org, and of course, to Breakmaster Cylinder, because, well, the beats, they're awesome. Okay, friends, that's it. We'll see you next week.