النص الكامل لحلقة Patrick Carrie from Limbeck

was a good it was a good vibration that we were picking up. I think yeah, and I think I mean around that age too, because I'm gonna I mean, I know that you and I are roughly around the same age that it is that early twenties where you start to open up your lens to be able to listen to music beyond not only what was just put right in front of you by your you know, discovery of you know, punk and hardcore and everything else, but then the idea that like your parents music wasn't as lame as you thought it was. Yeah, yeah, totally, like yeah, let's like not too bad. It's like that that's a revelation, Like come on, you should have already known that. But yeah, exactly what you're talking about where it's like, let's look back, because we can probably find things that we not only enjoy, but we can intention maybe incorporate that into what we're doing now. Yeah, totally, totally. I feel like, you know, I was playing these octave chords and you know, stuff that was kind of relevant for for that scene at the time, and didn't I ound you myself, like listening to a Tom Pettie record and be like, man, those guitar parts are so so perfect and they're not They're not like I'm I'm I've never been a shredder, but I feel but I feel like they were just like that sweet melodic element that was beautiful and like I think, you know, I mean, obviously we're influenced heavily by the get up kids, like in that emo E phase as well as like as when they went in on a wire kind of stuff, you know, and developing a like guitar tones and all, you know, just all that stuff was was very was very present in those records that were listening to right right, And I'll pick on a few more of those threads in a little bit. But putting the focus on you as an individual, were you actually born and raised in southern California. I do not have any idea where you can threw up. I was. I was born at Hog Hospital in Newport Beach. Represent That's where my son was born. Great great hospital. It's a great, great place, great place, ads uh so. And then I'm guessing you kind of just bounce around Orange County and regards because like you got Limbeck officially said you guys were from Orange? Correct or Am I wrong about that? You know? I mean it's sliding like Rob and I both grew up in in South Orange County, um lagoon and Miguel to be exact, and then he probably where we did a lot of our early limbex stuff. He was living in Orange, um so so. And and then Justin and Matt our drummer at that time, we're both from Orange as well, so um that's probably where the Orange the Orange claim came in. Yeah. And then I have been in South County forever, like I'm in San Clemany now. I been in San CLEMNY for I don't know, fifteen years now. Yeah, right, yeah, you're representing that. Yeah, I do like that. I do like that. You know, when you start to play together with friends and you know, you start to put together bad where, especially at that time for him too, you really try to be like, Okay, where are we

from? Um, like where most band members from. That's where we can say we're from. Well, yeah, I think I feel like we all rob and I also not. I mean, look, Nichols a great city, but it doesn't have the necessarily the character that Orange has. And I feel like, you know, there's band bios out there that that claim will get into gel. There's one that claims Tustin. I believe because that's where Matt and Justin we're living at the time, and um, yeah it's touchy. Huh yeah, well it's like and plus two. On top of that, you kind of almost wanted to claim a city that wasn't claimed where it was like, you know, maybe we say we're from you know, Anaheim Hills. It's just like do you care? Why should that matter? It shouldn't, but it did. Yeah, it mattered big time totally. And So what was your family structure like growing up? Because I don't again, I don't know this simple biographical information about you, like brothers and sisters. What we know one sister um four years younger than I and um, yeah, close. Great. By I mean I I being a parent now, I trip on the fact that my parents were asked. I mean, I want, I want this to sound right, but uh, I trip on the fact that how much how supportive my parents our slash were of my music career. Uh. It trips me out. And I don't know if I don't know if it's it's gonna, it's gonna it's gonna take me enjoying that perspective as my kids grow older, because like they were like, yeah, go on tour in a van with no phone, you know, and uh and Thomas guide as your as your map. You know. It's it's insane, right, it is true. And that was actually something I was gonna talk about later because I do think that especially if you do have that relationship with your parents that you know, and this is gonna sound totally cheesy and cliche, but just like a relationship built on trust or it's like that idea that your parents will give you such a long leaf should be like yeah, you can go on tour like call us once a week or whatever, but we know you're fine. And how that can flip on like what you're saying where it's like if your kid came to you, do that be Like, dude, I know what it was like touring and doing that, Like I don't think that I will allow that too as much as my parents did. It's a wild world, isn't it. It's funny. Um, and so what what were you? Um? I guess like you've always struck me. I mean for as long as I've known you, just you know, and I think that's why you when I get along so well as we're just kind of like, you know whatever, goofball happy people in general. And uh was that always kind of the disposition that you existed in or did you I guess kind of grow into the sort of happy nerd that you are now? Yeah? No, I think it. I mean I seem you know, as I said, my kids grow up like I feel like there was definitely finding myself period into high school where I feel like I really found my crew. Which was which was that? Which was that kind of like happy, go lucky, uh, positive punk punk punk kind of kid you know, like

that was my career. The weirdo, weirdo punk kids, um, but good kids Like I feel like we were all like positive, you know what I mean, Like it it was. I feel very fortunate for looking back at my past, like in my especially my high school years, like to be surrounded with such positive, creative people that um with good heads on their shoulders. And I feel like I I met those people in high school and it's kind of like that vibe is stuck with me since then, right, Like that you got hit at the right time to be able to have those friends that had this had a similar disposition, and you all kind of what intentionally aren't intentionally encouraged each other. Yeah, yeah, just very a very just happenstance. Like I just feel like it's it was such a lucky part lucky time of my life to to to meet those people that were um you know I you know, looking back, like I feel like that that could be such a rough time, but like I was surrounded by such positivity and crude creativity with people that were into photography and putting on shows and and uh but being positive, you know, Like it wasn't like it was like those shitty punks like it was. It was. It was more like positive and uh about a good community that I was surrounded with. Sure, sure kids, you know, ye, I totally get that, Um, so as you started to kind of go through junior high and high school and develop your own identity. Um, you know, I know obviously you've been interested in art and music. Those are commonalities throughout your life. Um, is that when that stuff started to I guess come to fruition or were you you know, playing sports? I mean clearly you also surf as well. Like was that all kind of come into a head at that particular time for you? I think my whole, my whole or a lot of the crew that I was hanging with, what we're kind of sport driven people that were also into punk, which was I guess maybe a rare cross cross breed of of humans. Um, you know, like you know, i'd say kind of jockey, but like like we're we're all like a bunch of us were playing varsity soccer and running across country and but then also we're like super tight with our photo teacher and and going to shows every weekend and making zines and like, um, yeah, it was. It was a good, good crew to be with. I'm glad you mentioned that. Of just the uh and this sounds like a lot of your experience. We're just that permissive nature where you didn't have to have these hard lines in the sand of like, Okay, you know, yes we're playing soccer and yes we're surfing, but we can't you know, be artistic on top of that. Like sometimes there is that real delineation where it's like you can't, like you don't want to be a jack, you don't want to do that, but you didn't have that. Yeah, that's and that's why I keep thinking, I'm so fortunate to have that those surroundings in that time. You know, like I feel like where there weren't weren't those lines in the sand that you that you think would be You're drawn, you know, right especially to

where you'd like, would you know, you would feel this weird guilt and participating in one or the other where it's like, oh, my soccer friends think I'm weird for you know, playing guitar and doing stage dives and then vice versa. But it's like, well, I mean, you know, they're not into it, but they're not judging me. Yeah, yeah, very very opening. We're welcoming to to that, and I I I yeah, I I know I keep saying it, but I'm so so appreciative. Like I just feel like it's such such a a weird time for people. I feel lucky, you know, yeah, absolutely, And where did the introduction of the more subculture stuff, you know, you're punk and hardcore, because I know that you definitely got into the you know, straight edge hardcore and positivity scene as it were, Um, how did that get introduced to you? Was it kind of just through your friends? I mean clearly you weren't operating off of an older sibling that was giving it to you. How did you get into that? Right? Yeah, it was. It was actually a kid that I was playing baseball with, Uh who I I want to say, past me a snap case cassette and and early early high school and um, that kind of like set this you know domino effect with with me and the crew that I was hanging with, and um yeah, hardcore was kind of like my probably my first I guess it was hardcore and kind of like the punk though. I remember I remember having a good a Green Day cassette, like a Lookout Records Green Day cassette at the same time. But um, it was yeah, this hard this passing around passing around tapes. I guess at the time, you know, get and getting into that or that early straight edge hardcore stuff. I go into a lot of like the shows that they have at churches and the shows they have it um just we I remember being up my mom, I let my mom let me drive up to Anaheim to see one that was in a dance studio. Seeing excessive force in a somewhere. Yeah, ignite? Um yeah is that is that? The answer? Is that the question? Yeah? No, absolutely, yes, I mean I I think it is uh interesting too. It's like the the lineage of like, okay, I'm getting into more generalized punk via you know whatever, it's Green Day Offspring, like all that stuff was clearly popping off as we were younger, and then that weird desire that you have to either find something that's a little more edgy, maybe a little more aggressive, and you know, you can't describe it or articulate it, but like once you listen to it, you're like, that's it, Like that's what I want to chase after. Yeah. Yeah, I I think it was so it was accessible in an easy way where you're not you know, buying tickets at ticketmaster too, and you're you're just going to like I said, you know, like you're going to the whatever the I have for some reason, I remember this show at a dance studio where I saw a night play. But that's excide the point. But but but they're like, you know, the smaller venues where they're easy to get five dollar ticket and you're you're in there, Like I feel like that accessibility was huge too at the time, right, and especially to just like you said, these unconventional places where you really felt like, oh, this is like, this is not what everybody's experiencing, because like you know, when you say I'm going to a concert, that's a whole different vibe than you know, going to a dance studio and orange away like totally um. And And were you as you started to go to chose and become more immersed in that culture. I mean, like you said you had a supportive relationship with your parents, Were they ever kind of like what the hell is Patrick doing? Like you know why, because I think at one point you were you were straight edged, and I'm sure maybe you xed up at one point in your life, Like were there were there alarm bells because of your parents probably had no context or what you were bringing home. Yeah, very much. So. I I remember specifically when I was hanging out at the Christiana Temple in in Laguna, and uh, we're wearing quite a few choker necklaces, you know, and my mom my mom my mom wasn't stoked on it. And uh and but she she tells me this story now where she's like, she's like, you know, telling a friend like, oh my my son, he's just like listening to this really aggressive music and you know, we're in we're in all his necklaces and she's like, well, is he are his grades? Okay? She's like yeah. I was like, is uh he like getting into drugs or anything? And she's like no, and she's like, well, then you don't have any problems, you know. Uh. And and I feel like, um, I feel like she she had kind of had that maybe that revelation that that it wasn't um necessarily a negative thing, you know. Yeah, there or the things that bother her about the aggressiveness and the stuff and the you know, the style that went along with it too, like weren't the worst things that could happen? Right? It is? Well, I I really like that the paths that you're talking about where it's like that level of responsibility where it's like Okay, you know, on the surface level, there's nothing wrong with this where it's like, okay, you know he's getting alright grades like that. You know he isn't you know, being irresponsible and showing up but you know for in the morning drunk or whatever, like all of these things that parents would be fearful of. But then there's like that element of just like but what is that, like thess like I don't understand this? Where does this come from? Yeah? Exactly? Yeah? Were you? And kind of on that tip too, just because that um is such a interesting and frankly bygone era of that whole you know, spirituality influence, especially what you're talking about like the you know, Harry Christian and then obviously the combination of you know, Christian hardcore starting to come about. It sounds like you were always kind of, I guess, attracted to the spiritual nature of how bands were expressing themselves within that. Is that correct on that assumption? Yeah, I mean I think for for like the Christian hardcore, I

think it was definitely kind of in the accessibility vein and and also the getting the thumbs up to drive myself to those concerts. I feel like it was a little bit less intimidating if you're going to a a church or something, you know, from my from my parents perspective. Um, so, so I think it was yeah, and that was I mean m x p X was playing every other month, I feel like, right, Orange County, so we're all always going to those shows. Um and then I think the the the go going to the Christian Temple was was kind of half of the you know, half the half inspired by Shelter and half inspired by my vegetarianism at the time. Totally yeah, they got they got two vegetarian still Pascterian. But I was I was very uh, you know, wearing it on my sleeve at the time. You know it's coming, right. Band merch band rich is the life splood of all things independent music. I don't care whether you're an active touring band or whether you're just you know, sitting at home being able to create music. The only way that these bands can do that is via their merch. And Rockabilly dot Com is the place where you should buy all of your band merch for a multitude of reasons. One of them is that it is officially licensed, so that means bands get paid for this stuff. This is an unauthorized you know, Instagram account bootlegs stuff like. Don't get me wrong, I have been known to buy bootleg shirts here there, but when I buy it from Rockabilly, I know that I am doing the right thing. You know, we do wrong things from time to time, and I'm not above that. But promo code. Use this one word their last thing gets you ten percent off your order and you will be able to save money, support bands and support an independent business. I love what they do. They ship out from the Midwest, all independently run, and they've been existing for thirty plus years. I dare you to go on their website and not find at least four to five items that you want right away. So again, promo code one words or less ten percent off your order. That way, they know that you listen to this show and you're a fan, and you want to save money. So it's great, let's go rockabilly dot com. Was there, I guess in your mind as you started to, you know, really go to these shows, did you immediately get attracted at the idea of wanting to play in a band, or was that again something you kind of worked yourself up to. It was I think it was more of a progression because I think in high school it was I was I was doing a zine and and buying a lot of you know, going to the record stores, going to Underdog and Laguna and Bionic and what ever um and Tower off El Toro. But I think it was a progression for sure because the zine, the zine and going two shows was was definitely where my head was at in high school, and I feel like it was it took until the end of high school to to put more like playing music as a as the next step got it? What was the Because I love znes, I did not know that you did a zne. What was the name of your scene? Yeah, it was hop Scotch it was it was more of like a ska punk zene. Uh yeah uh near the end of high school, as I was going to more shows and definitely kind of more in the scott punk vane was like definitely my flavor. Um, so I was covering that scene, right sure, dude, respect man. I mean how many issues did you end up putting out. Were you just kind of like I imagine, like working on it in you know, art class time and stuff like that, or were you kind of you know, just working all the time I was. I mean it was it was art class. I think, Um, it was that I was doing a photography class and you know, developing a lot of the photos that I was taking at the show. So so that was a huge part of it. And then um, Rob who who's in limback to like we were we both had znes and he had more of a punk driven one, and um, I think that's where my like kind of graphic designing art stuff, you know, was scratching that itch back then. But yeah, I think, I think, I guess, I guess sorry. Photography class was was probably my one of my cornerstones of the creation of the zine. And were you were you taking pictures at all of the shows and then obviously putting them in your ZNE. I was indeed. I love that when especially too, when you feel like you can put put something out in the world and create something from nothing, especially as a kid, like that is the most empowering feeling possible. I mean it's still even as an adult, like it's so cool. Oh my gosh. Yeah, And I and I wish I had that same um spirit that I did that that uh, you know, you just you grow older and you you you're aware of um, you're aware of a pause and and you know whatever. But I feel like my my my creative freedom at the time was um at an all time high. Yep. No, for sure, that makes sense. And what was I guess your life paths supposed to be, you know, in regards to you know, did you have visions of you know, following in your parents footsteps about whatever their professions were, or was it just kind of like, oh, go to school, they go to college and kind of figure it out. Yeah, I think it was. It was more the latter, Like I was definitely you know, let's go to let's go to college and and see where that leads. And I remember I went to UC your Vine and and studied fine art and graphic design and but not really I'm not really sure of of where that would lead, you know, next. And I remember taking taking class classes. Uh. I guess that I declared my major the second year, but the first year I wasn't. I didn't have a major, and I was unsure of what I was doing at all with my life. UM, and I think identified those in that first year. UM. But but then yeah, I guess that's when I that's when Limbeck was starting up. So I feel like that was creeping in and then eventually took over, took over the priority sure and and so so it was Limbeck. I mean, I know you mentioned that you and Robert playing in you know, some uh whatever b rate rip off or maybe even see rate at your description off bands.

Where that that was during high school that you were doing those bands? Yeah, we we I I guess where I got my feet wet um At a senior year, Rob and I started a band just to play the Battle of the Bands at high school. And that's huge. It was just fully fully a joke project band to to get out of class and play play the Battle of the bands. Um. And it was kind of kind of like a high fives kind of like rock and roll kind of band, you know. And we're called the Spirit Club and um we want the Battle of the Bands. And got to play a couple of assemblies which was killer and then um and then high school ended and then Rob joined Limbeck. There was already like a band that had started prior to him being in it, and then after he joined, he was like, oh, I love to get Patrick in because we're seeing harmonies together and it's pretty fun. So, uh then I joined shortly after that, got it. That's honestly spirit club. That is a very good name for a band because usually, like the first band names or you can close your eyes and immediately pick out what they sound like. But Beery Club is pretty like that's nebulous, like you could go a lot of different directions. So that's that's a pretty good, pretty good band name. Guys. Yeah I was. I'm pretty proud of it. Yeah, I mean, I'll I will reveal my first band name. It was called Doom Society, and you can imagine exactly what it sounds like, heavy heavy, totally heavy or liberty spike punk, which is exactly the juncture in which we lived in where it was like we're you know, we're not exactly a hardcore band or not exactly a punk band, So Society's is what it is. Um So, like you said, you got your feet wet playing in that, and then you know, once you got invited to join Limbek. I mean, I definitely remember at the very very beginning of Limbek as far as you know, starting to see you guys up here on flyers and play shows, a coups and stuff like that. Um, it seemed like you you know, you sat sort of firmly at that uh you know, pop punk adjacent world where it was that you know, there was a desire to do something more than that, but it was very much that world, and you were playing specifically with you know, up Syndrome every other weekend or whatever, right, totally. So yeah, yeah, and it was so was that. Um, I guess that was kind of the manifesto initially, like where it's like, hey, like this is obviously fun and we're just kind of like leaning into this rather than you know, having some sort of grand vision for where you wanted to take the band. Yeah, definitely. I think it was you know, playing like you said, playing coup's playing uh, playing ConA lanes. Uh change. I don't know if being change change your action was there yet, but um yeah, public Storage probably exactly. Um yeah, I think that was that was fine. Just playing on the weekends I think was our was our thing. I don't I don't think we strayed very farther much further from Orange County at that time, and that was fine. It was totally fine, right right, Yeah, that was I mean, yeah, when you're able to if you're the loftiest goal is to you know, open for home Grown and like you do that, and it's just like all right, well it looks like we made it. There we go. That's all we wanted. So well, I guess I I guess that that's a good segue into that. That next step was was playing with Homegrown because you know there are Orange Orange Slash touched in connection um, and that led to touring with them, Slash putting out our our first record that we kind of don't count uh the ft record on their record label or Adams record label at the time. Yeah, I also do remember, I mean I distinctly remember that record, UM because it was at that time where many there was a lot of bands that existed in Orange County, but when you signed with a record label, it felt so different, regardless of the size of it. And so I remember where it was like, oh, like you know, Limpe's gonna put out a record on a homegrowns label and it was like, damn dog they have like they made it, like this is wild totally standful legitimacy for sure, right And and was that the first time that you actually went to a recording studio to you know, put down your stuff on tape. Yeah, you know, I think we we've probably done a couple of demo sessions around in in people's um quote unquote studios. Uh, you know. But then um, but then we actually we actually recorded our our first full length with them with Ed Rose out in Udora, Kansas. Um um. And how how weird of it? An experience? Was that being able to not only travel out of state to record with somebody, but record with a person who you obviously looked up to at that point. Yeah, completely game changer I think for us. I think it was you know, like like I said earlier, being hugely influenced by the Get Up Kids, and then and then having a couple of bucks from the record label to say, whoa, uh, let's go out to Kansas and and spend a week and make a record with one of these guys that's made all the records and we listened to it was. It was pretty surreal, sure, And when you started to play shows, you know, maybe out of state and had a little bit more experience in putting yourself out there, was it. I mean, you're an outgoing person, but I'm sure there's elements of you that and especially the way that you present yourself, you know, and I'm using air quotes here like publicly, um like you're you're friendly, but it's not one of those things where like you're you know, putting on a stage persona where it's like here's limbec Like was that, um just kind of the way that you always wanted to sort of present yourself, you know, on stage or was that something you had to kind of like learn to be comfortable with yourself on stage? How did that transpire? Yeah, I mean definitely definitely a progression of becoming more comfortable and and uh being myself slash ourselves on stage, I think, uh, I mean a lot a lot of awkward shows in our on our back back yard. I think you know got us there. But I think, um, I

think we we always value just a band that that had a relatable stage presence, and that's probably from from playing you know, Cuz so much and being right in front of people and having conversations with them. You know. I think we always appreciated that for what it was and and almost took that to um, you know, opening for bigger bands on on bigger tours. It's like we'd appreciate the fact that you would be a little bit more relatable on from the stage, you know, like we're hanging out, like come come hang out with us. Emerged after the show. I think maybe just from where we we wanted musicians, musicians to to feel to us, that's that's what we wanted to be to other people. That makes sense. It does especially too with that projection of like, you know, you want to be approachable because you know, not even from like a business strategy, but like this is like I just want to hang out, like it's cool you came to the show, thank you for watching my band, like let's be friends. And that was you know, that existed, that permeated through the band, regardless of you know, the sort of tour or who you were playing to. That was always kind of the the credo. It seemed like, whether you articulated or not, Yeah, I know, I can. I think you hit the nail on the head. That's definitely definitely just like a relatability where like we're hanging out, like we're all on this, we're all on the same page here, like let's hang for sure, right, Yeah, And it didn't feel it didn't feel put on any respect, because I do think that you know, bands, especially of the you know, independent variety, there's sometimes that there is that level of like put on this. And I don't mean that in a bad way, but it's just like a band to have a real deliberate approach, whereas like it feels like with you guys, you just kind of, you know, put it on like a you know, old comfy sweater where it's just like, oh, yeah, this is this is what Libeck is. I get it. Yeah, yeah, yeah, I I feel like it's you know, in our early touring, they are like our first five years of touring, I think we we never we have we have a claim and i'd have to I'd have to ask somebody what it was, but I want to say it was about five years where we never got a hotel where we were staying with people after the show, and I think that was part of part of the vibe, you know, just like we're hanging out and um, we're friends here, and you know, dude, there is nothing better than you know, being on stage and being like, you know whatever Myrtle Beach, South Carolina and being like, you know, the forty people are at the show, you're like, hey, um, does anybody have a place to stay today? Talked to us the merchant table. I don't know your position right now, but but I mean I think that you know, like we've we've always lived pretty modestly. We've always toured and and been a dand pretty pretty modestly and humbly. And I feel like, um, we we all we also appreciated the whole experience of it. And I think you get you get such a

different experience obviously in more ways than one, um, hanging out with people and sleeping on their floors than you do, uh, sleeping in a hotel room. You know, you're totally right, because I I think when you don't have that you know, connective tissue and not even so much from the idea that like, oh you gotta put in your lumps and you know, not spend any money on yourself, but it does become this weird swashbuckling adventure that you're on where it's like, we never would have met this person if they weren't kind enough to you know, invite us into their house. And sometimes that works out really well, and then sometimes it makes it for a really funny story later on. It makes up for some great stories later. And I think, like you just said, like, I don't we we I don't think we appreciate it at it for what it was at that time maybe, but in hindsight, it's like it's like, like, yeah, just the experiences that we got were like tenfold from from and amazing. You know, the friends that we still are in touch with these days. I think it's it's pretty pretty amazing, right yeah. And honestly, I think to that point too, it really whether or not, well, I know that you did this deliberately, but you know, with the high everything's great record, like how you know, autobiographical and specific you were where it was like mentioning your friends names and pulling these things that you know, bands may have clearly have done in the past, but you were so specific throughout the entire record it really felt like, oh yeah, like I know, Julia, like or it's just and and it didn't feel stupid where it was just like, oh, yeah, they're singing about their friends, and it's very deliberate about that because you know they probably stay in this person's floor or whatever. Yeah, I mean I guess, I guess, I guess maybe that is uh, more true in hindsight where it's like it was it was in a show, you know, it was it was just us being us. And I think that's, um, we we're singing about what we knew about and felt good singing about, you know, right, And and I think to that point to just the because and I know you have seen this where when bands get on that hamster wheel of you know, here we go, we're touring two d days out of the year, and we have a new record to put out and the only thing that we can sing about is tour and that that gets pretty old pretty quick for most people are just like wow, like life in a van, that's weird. Okay, there's another record about that. So I think you guys kind of skin that a little bit differently where you could pull in these you know, like you said, autobiographical elements of your life. Yeah, totally the And speaking of Two Ring, how I mean your relationship with it, well, I'm sure has Empton flowed over time where you know, when you first got on the road, you're so excited and everything is a new experience. Um, when did it kind of I guess change for you to have a different relationship where it started to feel you know, less either less exciting, more like work um or did it have a you know, general consistency of like excitement versus the you know sometimes lows that happened on tour. I that's a good question. I feel like it's it stayed very positive in the in the fact that we we always took it at the phase value that we were fortunate enough to be driving around and exploring. You know. I feel like it was always kind of adventure and we were the we were the kind of guys that would that would wake up to go, you know, swim in a river or uh go hit some taco spot that was recommended. I feel like we we always took advantage of the fact that we were in the position we were in, and I feel like it it might have become less fun. I think when things got I mean honestly ray like near more near the end of our touring, full time touring, where I feel like it got more stressful when um and I know this is a jump a jump on the on the timeline, but it was like when Napster and you know, record sales weren't what they were and gas was way more expensive, and I feel like the stress, the stress of all that made it a little less fun for what it was. Where you are stressing about you know, people being at the shows and buying shirts and like, uh, having a couple of bucks by the time you come home so that you're you know, you're because at the time we were touring pretty much full time, so you were I mean I was living at home but needed a couple bucks to to live on, you know, after the fact. But um, yeah, I think that that really became stressful. I can understand that the the business implications like and that was actually something I was going to ask about too, because you know, it seems I mean, you guys clearly worked with you know, booking agents and record labels and stuff, and every band has to figure out how to navigate the business aspect of their bands. Was that something that came comfortable to you or was that sort of a necessary evil that you needed to deal with? How did you manage that within your band? I feel like we we were the kind of guys that we we did a lot. If we could do it ourselves, we would do it ourselves. We were we were go getters in that respect, where um, you know, we we weren't too proud to do the legwork of mailing stuff out or making phone calls or designing flyers or you know, all that stuff was was actually fun for us, and I think we enjoyed it. I think, um, yeah, I think we were good. We were more more go getters in that respect, right, And you once you started to bring other people into the equation, did it feel I mean, obviously it felt right because you were you know, taking and making those decisions. Um, but there you know, the trade off of, like you were talking about towards the end of the band, the stress of being like, oh man, we can like there better be a hundred fifty people tonight because otherwise, you know, it's really gonna tak the profit and loss sheet at the end of the tour or whatever. I mean, I don't think we we We we were pretty uh you

know, low overhead operation where we have a booking Asian to get the show's booked. Um. And I think, um, we had a manager that we had a I mean we yeah, we had our manager. We had had Slash have because he's stild, but but um, A great were the relationship where where it wasn't like he what he knew we weren't you know, making millions or anything. So I've like he was. He was cool with the EBB and flow and that wasn't one of the stresses. I think, you know, we were we were, we were living humbly. But like I think it just, um yeah, I just made it made it tricky. It made it tricky. Not that we didn't I don't think we We didn't really have a lot of you know, percentages to you know, business wise, to like pay out here or there. I think, um, we had a like a low frills operation. It was pretty it was pretty bare bones all things considered. Um, but it just lean right, Yeah, we ran, We ran super super lean, right, And uh, I know, I just remember anecdotally there was um you you yourself always randomly popped up in these these these marketing things, whether it was like I remember it didn't at one point Limbek but wasn't called Limbeck was in like I'm at commercial right, Oh gosh, yes, Okay, I don't know, Patrick, I apollo as the way my brain works. But I just remember these random things because it was like what, like where did this come from? And then like again but yeah, no, I mean that's a wild story in itself that was that was a little on the earlier side of things, but um, yeah, it just happened. Happened to be a friend of our sister was working with the ad agency making um a commercial for Apple or a potential commercial for Apple, and um, they needed a garage ban so uh, we were a band that practiced in garages, so we we fit the bill. Did it did it actually like air or was it basically just on kind of speck and then never went anywhere? Yeah? No, no, Can I give you the long story please? I would uh yeah. So so so they're like, oh, well, we're just gonna tape this and see where it goes. And and and to put it, uh in the history of Apple, it was around that time when when they had those big colorful you know, orange or cyan colored uh monitors, you know. And it was their introducing I movie and it was like this commercial where you can make your own music video. So they needed a band and and and they liked one of our songs that felt felt well for it. So um, one afternoon we recorded with with the crew and and did like a little music video around the garage and around the backyard and then they're like, hey, okay, well we'll let you know. We're gonna pitch it Apple and see what happens. You know. So, uh, maybe a couple of months later, we're on tour, and while we're on tour our, our parents all get a phone call and it's like, hey, we're gonna we're gonna use the the commercial and print the We're gonna do a print ad for the for the feature and uh, you're your son's likeness is gonna be in the thing. We're gonna pay a couple hundred bucks. Cool. And then where our parents are like, oh my gosh, we're making money for their band. Their ecstatic, so they, you know whatever, Maybe it's a verbal I don't know. There wasn't any contracts at the time, but um, but it became a pretty huge print ad campaign where, you know, back a rolling stone, back of Time magazine and um, some some pretty cool placements. Like you said, they didn't use our real band name, so it didn't I don't feel like although we did. The band name was Garage Monkeys, and uh we did buy garage monkeys dot Com thinking that it might connect, although that that was no uh, had no benefit whatsoever. But anyhow, Um, and then they're like, hey, we'll let you know if it goes to air, you know, because they did do a video version of it. And then, you know, a couple of months later or or whatever, we're on tour and a and a friend calls and they're like, hey, we're I was watching MTV around midnight and they played your commercial and uh we were like, well they never told us, you know, and crazy and then um and and and then this is where where it got a little sour, where we we had questionable a lawyer at the time. Uh and um he saw to all our signs, uh where you know, we never signed a contract for the commercial and um uh yeah, so he was he was gonna like sue Apple at the time, and um it became this really really ugly situation and then um, I'll spare you those details. Uh. But then um, they got a sour taste in their mouth by the whole thing and kind of cut the commercial after that. Um, but we got a tour man. Yeah. That is a very well because I I just think anytime those things happened, it not only is it you know, random and happenstance, but like any time it happens within the context of you know, punk and hardcore and you know, d I y stuff. You can't help but be excited because it's just like that idea. You know. It's like even to this day where it's you know, a band from our scene quote unquote, like plays a late night show, it's just like, wait, that's so sick that's happened, And it's like all those little things just get you really excited because who knows like that, you know, garage monkeys thing could have introduced a kid to you know, something that like completely impacted their world, and all of a sudden, it's like, oh, now I listen to Minor Threat because of this commercial. I mean, I know it's a stretch, but that's that's incredible. So, like you were articulating, when the you know, the more I guess business implications of the band started to you know, dampen some of the enthusiasm for kind of continuing with the band. Um, you know, I know, it's always like a it's a process to wind something like that down because you know, you were just like, well, this is pretty much my identity. For the past ten years of my life. I was known as Patrick and stuff. Like, yeah, totally. Yeah. So was it difficult for you, I guess to you know, for lack of better term, transition out of it, even though you know people and Limbeck still exists

to this day for obvious reasons, as you know, you've put up music ever since. But was it hard for you to, I guess transitioned into the quote unquote real world. I think yes and no. I think, Um, I guess at the time it was I had my my first son in two thousand seven, and I feel like I guess I shouldn't mentioned that earlier work where where that's definitely uh one of the stresses where it was like, oh my gosh, I'm making nothing, no money like a child, right, rude like that that. I don't know how much longer I can do this if if things don't, you know, go into the opposite direction. So, um, I think that was one of the definitely reality reality checks at the time. Um yeah, definitely big reality check, right yeah. And I guess with that idea of being like, Okay, I'm kind of putting this side of my creative self, you know, on the shelf, so to speak. Um, and then being able to kind of figure out like Okay, what do I What do I do from here? Yeah? Yeah, I guess I didn't finish my thought. I I uh yeah, yeah. I think that was like it was just like, okay, well this isn't gonna work full time, right, So it was like, um, kind of that reality, the reality of that became, you know, I understood that whereas like I can't do this, Like we were doing this and and at the time, um, the three of us, Rob, Justin, and myself lived in California and southern California, and our drummer John was living in Milwaukee. So um, you know, since we're all still southern California, was like, well, yeah, maybe we'll you know, we'll continue to do this. We're not going to do some full like last tour because like we don't want to close the door on on the band and close the door on that. So I feel like it was it was it was more of a winding down than it was a you know, a door a door shutting right, Like yeah, the the ripping off of the band aid we're gonna you know, break up, like we hate each other. It was like just the the realities of life made it to where oh yeah, we can't be out for a hundred fifty days out of the year exactly. Yeah, it became very, very apparent that it was like the eight months six eight months to a year on the on the road wasn't gonna work, right. But but it was like, I think that was the thing. It was like, well, we're not gonna like I like I said, we're not going to close the door on this, Like it's like if we can still get together and do whatever, like, let's let's keep that option open, right absolutely, And kind of I'm going backwards a little bit here, but just the um when you felt like the band had momentum and or you know, people outside of the southern California area were you know coming to your shows and you know, singing along with you, even if it was like ten people or whatever. What did you feel I guess, for lack of better term, that the band felt real where there were things that were happening. Um, what kind of you know, it doesn't need to be just like you know, lightning strike moment or whatever. But when when did you personally sort

of tick that and be like, oh wow, like people are paying attention, man. I I guess it it was that you know, we did it. We were making circles around the country a couple of times, a couple of times a year at least, so I feel like, um, yeah, I mean, I guess, yeah, just the just the the like you said, like the numbers getting bigger and people singing along and requesting songs, and I feel like that was we were taking note of that, and um, I guess that was that point of the band where it was like we were still doing the tours that were a little bit more in the pop punk vein, and um, I think we for whatever reason we we we were always asked out on on quite a few uh pomp punk tours and that was you know, like I said earlier, that was definitely where we came from. And I think in our in our heads, we were hoping that we would bridge this gap into this kind of you know, rootsie all country touring circuit um that never fully uh fully happened. But um, I think right in the middle of that where we were doing these bigger tours with with bigger pop punk bands, I think it it felt good to have kids in that crowd singing along, right, Yeah, especially like that idea that you were kind of this interesting bridge band where people that didn't want to hear the same band play four times in a row on a package tour could hear Limp back and be like, oh yeah, this is poppy but different. So it's not just like the same band playing all all all spots on that tour. Yeah, were either a breath of fresh air or they hated us of course, right, so they're like, what is this country crap? And it's like jeezy. But I mean at the same time, it's like, you know, you guys, you guys crawled so uh, you know, Lucerro could walk and run. I'm just kidding. How how did you get because I know that you have been involved in the you know, active wear lifestyle war industry for quite some time, working you know, vocum, and how did you get piped into that? I mean, I know that you've always existed, uh, sort of adjacent to that because you have always been you know, surfing and existing in the water. Um, how did you get piped into that? I mean it was it was actually a really beautiful transition from from you know, post post NonStop touring into finishing up school where I was like, oh my god, I got it. I've got to figure this out, you know, do something for my family. And I was finishing up school and have lunch with a friend and and I was telling her that I was, you know, unsure what what my next step is. And she's like, we'll get it. Get an internship here at Bolcom. Um, I've got right theer perfect person for you. And I she took me upstairs and I met with uh this guy Ryan Emmigart, who was running the record label at the time, and UM got an internship with him, uh doing graphic design for the for the local entertainment music label. So it was it was, you know, he appreciated where I came from with music and touring and um, you know, enjoying graphic design, and I with it led straight in there was I'm very fortunate for for that chain of events, you know, right, well, yeah, because sometimes you know internships or it's like it's that weird like Okay, I've been here for a year, Like you can't I get an actual job, Like is this transition into something? And you don't you know, you don't want to like bump people out by asking that question, but you're like, I would really love to work here totally totally. It was I mean, it was just it was the I think, you know, my my past of being involved in graphic design through Limbeck and you know, having that side of it that you know, you know, we handled our own flyers and that was basically my portfolio. You know, here's a here's a record layout I did, here's a here's the handful of our crappy flyers that I've done, you know, And uh, I think, um, you know, him appreciating that, and you know the fact that that we've been touring for a while and and wanting to help me into the next step. I think, um, and you know, getting to know each other. I think, you know, just personally, I think was a huge um, unfortunate for that too. Yeah. Absolutely, Two less things I want to hit on before I let you go was the um, you know, because you are a father, a family man. From that perspective, the you know, I'm sure the lens that you have raised your children through have undeniably been influenced by you know, you being raised within the independent music scene. Um. You know, how do you think that I guess influences you're parenting in general. Um, you know, because like we were joking, about earlier, just the idea of like setting your kids off on tour. It's like, oh, that's weird. I'm surprised by parents to that because I wouldn't do that with my kids. Um, you know, how do all those thoughts kind of ping pong around your head as I talk about that? Yeah, I mean I think it's I think it's it's it's it's a weird thing though. It's like, you know, I had a natural progression into that, you know, from from being surrounded with the people that I was surrounded with in high school. And I feel like I don't want to be too heavy handed with pushing my kids into any in any similar directions in myself, Like I feel like I can, I can you know, introduce that stuff, but not be heavy handed with it, because I want their progression to be natural where they're discovering things on their own and um for you know, you know, taking a note for my parents and being supportive of that. Uh, as long as it's checking all the right boxes, you know, right exactly. Yeah, just that, I especially looking at it with the idea that it's like, oh, yeah, what's my kids seven? Like they're gonna get into minor threat, and it's like, what are you talking? Like, no, they're not, like they shouldn't because if they heard it, they liked it. Like there's probably something you know, a little bit off like that music is. I can't say that I haven't bought them minor thread shirts and whatnot, but I feel like, and you know, I just wanted to be I

wanted to be natural where I feel like that was the excitement of me figuring that out. And you know, like like you touched on like I didn't really have an older sibling or anything, but it was definitely like that discovery that felt exciting to me at the time to make my way. And I feel like I I see that, you know, have the perspective now like where I hope my kids have that. And and I don't want to, like I said, I don't want to be heavy hand with it either, right, you don't want to lead the witness exactly exactly. Uh. And the last thing is the the vinyl for high everything is great with the postcards, Like I mean, it's still one of just like the kitchiest slash coolest things that I ever saw in regards to vinyl packaging. Yetto was so simple but it just felt so at home. Was that was that your brain child? Where did that kind of come up? I think it was, you know, it was that combination. Rob and I were both doing um photography and high school and and Rob definitely stuck on the photography path, uh more than I did, you know, going into touring, and he was taking a lot of the photos at the time. And um, I think just given given to that record had so many geographical references and and stuff. I think the postcard thing, I I you know what, I don't know if it was if it was Rob's idea or um. We actually worked with Dan ask you who um run Second Nature? Yeah? He uh he designed that record, and I I think it might it might have been Dan. Okay, I'm kind of blanking on what the process was at this point as far as the the creative direction where it where it was established. But um, we worked pretty pretty closely with him on the project and and and man like it's it's you know, at this point in my life like seeing a seeing a project that fully was such a percent nailed it on the direction that we were going for it, and it came out exactly how you know, I have no I have no desire to change anything about it. Yeah, I guess it's a rarity, you know, like you're like, oh man, I wish we would have chosen this stock or whatever, but I think we really we really nailed it right, right, nail it. I, you know what, I I agree wholeheartedly it definitely. Uh. I. I often pull that out and like look at those little postcards and I'm just like, God, this is so cute and cool and every it's just it's everything like that record. It's like every element of it just like makes me incredibly happy. And yeah, I agree, you get a lit out of the park. Yeah, well that we're pretty groud of it. Yeah you should be. You should be. Well, I really appreciate your hanging out with me, Patrick. I knew this was gonna be a fun one, so um yeah, thanks for let me pink pong around your brain. Oh heck yeah, my pleasure. A. So that was Patrick, And I appreciate him hanging out with me on this beautiful podcast because I selfishly just like having these conversations. Sometimes people stopped down and ask or it's just like you've been doing this for an absurdly long period of time, Like why do you still do it, and ultimately, I'm like, because it's fun. It's really fun for me to have these conversations and find out things that I normally maybe wouldn't get to in other circumstances because you know, I run into a person like Patrick, it chose I don't get to sit there and just do a real deep dive into him. But anyways, thank you Patrick for coming on the show next week episode FO that's insane to say, but I'm going international for this one. I brought in Thomas and I'm not even going to try to pronounce his last name, but well, actually let's try it. Thomas legend Al. He plays in a band called Breach, and he also plays in a band currently called Norna n O r n A. This band is amazing. Breach is amazing. If you're a fan of neurosis, isis all of that stuff and of not listen to Breach, please do yourself a favor. But I had to have Tomas on and we talk Swedish hardcore and a bunch of other stuff because that is where he is from. He's from. Sweden exists in the whole you know, umea hardcore scene and it's just it's great and I've possessed with that music scene. And anytime I can talk about that with others, I do so. Thomas from Breach and Norna is on next week. Can't wait? All right? Until then, please be safe, everybody,