tag:blogger.com,1999:blog-89053467014599630142024-03-17T01:16:06.370-07:00The WitzardMatt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.comBlogger3104125tag:blogger.com,1999:blog-8905346701459963014.post-57568321922508766962023-09-26T12:30:00.001-07:002023-09-26T12:38:37.018-07:00THEWITZARD.COM IS CURRENTLY UNDER CONSTRUCTION. WE ARE GETTING A SITE RE-DESIGN AND WILL RE-LAUNCH SOON! STAY TUNED FOR UPDATES!!!<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbu-ej7dGWF8TLcZL9cREyn34HXLZYF_eQMX4QKXZXHqMLTavB2pJc5HqJtJfR_PZLsOxLED0147olWunnJxLyLk_cWIcrNStNaBwQpk7Q0J8cZCJLf0esUQ4HqOzdiceTtwLjGE6XK_NscjHtxsZ6Po-bKrWAnYzY4QNynNxhUUylZ3oV6dKr059CzgO4/s2000/construction-sign-label_24886-506.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbu-ej7dGWF8TLcZL9cREyn34HXLZYF_eQMX4QKXZXHqMLTavB2pJc5HqJtJfR_PZLsOxLED0147olWunnJxLyLk_cWIcrNStNaBwQpk7Q0J8cZCJLf0esUQ4HqOzdiceTtwLjGE6XK_NscjHtxsZ6Po-bKrWAnYzY4QNynNxhUUylZ3oV6dKr059CzgO4/s720/construction-sign-label_24886-506.jpg"/></a></div></center>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-89255453761994036692023-09-21T10:08:00.001-07:002023-11-01T06:40:13.890-07:00Gabe 'Nandez Returns from Psychedelic Trip Through The Deserts of Central Mexico with Extremely Lucid New Album H.T. III (P.O.W. Recordings)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMt3JZXCy699DbF6EOKt_q0K_DKs07fFiuZV5leXNhHMiPsDBQJeKFEQxGYLUvcv7LUoB5ng_XNh9SSjdbU1BZ4AI1IXnyNBWJCzK5Y3dvx18ixlcdXhyYjHoW-GMTowhw5rKrprETr4gTJYZxktgg_gxLIrOubGlirYZnGvdiO6qqZ_hnrTSOVPv85jRQ/s1900/ca630b01-a2c5-4e20-b986-c39f3677807d%20%281%29%20%281%29%20%5B2%5D.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMt3JZXCy699DbF6EOKt_q0K_DKs07fFiuZV5leXNhHMiPsDBQJeKFEQxGYLUvcv7LUoB5ng_XNh9SSjdbU1BZ4AI1IXnyNBWJCzK5Y3dvx18ixlcdXhyYjHoW-GMTowhw5rKrprETr4gTJYZxktgg_gxLIrOubGlirYZnGvdiO6qqZ_hnrTSOVPv85jRQ/s620/ca630b01-a2c5-4e20-b986-c39f3677807d%20%281%29%20%281%29%20%5B2%5D.jpg"/></a></div></center><b><i><small><font color="red">Gabe 'Nandez pictured in the Wikiruta desert of Central Mexico (SOURCE: Jeff Weiss)</b></i></small></font><br />
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Last night, I posted an off-the-cuff <a href="https://twitter.com/SharpCheddar856/status/1704611053454148057">"Tweet"</a> on X (formerly known as Twitter,) which read, "Man, this new @GabeNandez album is straight Fire Emojis rn fr fr no cap... or whatever it is the youth of today would say these days! But, seriously, great job once more, @Passionweiss!" with a couple hashtags and a <a href="https://gabenandez.bandcamp.com/album/gabe-nandez-h-t-iii">Bandcamp</a> link to H.T. III. It was meant partly in jest towards today's youth of which I am extremely, admittedly, out-of-touch, as most 35-year-olds likely are, but not at all in jest towards 'Nandez and/or H.T. III. Oddly enough, I was just telling my friend and co-worker about 'Nandez's music on Spotify earlier this week and today, we have a brand new 'Nandez album treat for our earholes. During a cold sunset in the mountains of Central Mexico, Gabe 'Nandez grabbed some water, candy, and a machete, and wandered into the desert in search of the mysteries of The Solar System. It was a windy January night amidst the crumbling ruins of Wikiruta, the ghostly expanse sacred to the indigenous Huichol people, where native shamans make a 250-mile pilgrimage to commune with the ancestors in the axis mundi where local myths say that the universe was born.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/lVLIyajug9g?si=tDuvkbtKih3Y1-ny" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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Wikiruta is one of the few spots left in the world where the nearly extinct peyote plant grows in the wild. On a tip from a close friend, a native of the region, 'Nandez came in search of the spineless cactus plant with powerful psychedelic and healing properties. The New York-based, globally raised artist, had experienced a pulverizing few years of loss and strife. After conquering drug and alcohol addiction, he weathered severe mental duress. And right when he achieved psychological stability, he suffered the most debilitating heartbreak of his life. The most logical recourse was a hallucinogenic quest into rural Mexico in search of mescaline, a drug once described by Gonzo himself, <a href="https://www.rollingstone.com/culture/culture-news/rolling-stone-at-50-how-hunter-s-thompson-became-a-legend-115371/">Hunter S. Thompson</a>, like so: "good mescaline comes on slow. The first hour is all waiting, then, about halfway through the second hour, you start cursing the creep who burned you because nothing is happening... and, then, ZANG!" But there was no intermediary vendor. 'Nandez came solo and spent two hours vainly searching for the peyote, which grows underneath a type of shrub called la gobernadora.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2943619805/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=502921547/transparent=true/" seamless><a href="https://gabenandez.bandcamp.com/album/gabe-nandez-h-t-iii">Gabe 'Nandez - H.T. III by Gabe 'Nandez</a></iframe></center>
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After rifling through hundreds of plants, 'Nandez became momentarily despondent. It was a fruitless journey. Just then, as soon as he let go, it appeared. Five giant bulbs that had been stealthily growing in the middle of these arid lands for at least a half-century. Chopping them off with his machete, he entered another realm. What was unlocked from the chamber supplied a creative spark for his latest project, H.T. III., released on <a href="https://powrecordings.bandcamp.com/artists">P.O.W. Recordings</a>, it heralds some of the most taut and transformative writing of 'Nandez's career. From the first seconds of <a href="https://gabenandez.bandcamp.com/track/long-reach-2">"Long Reach,"</a> he's immersed in a fight for the soul, Paradise Lost for Post-Boom-Bap, where 'Nandez wrestles with the angel of death—as it manifests in worldly temptations and omnipresent woe. With 10 post-J Dilla, soul-warped angelic hymns supplied by Tel Aviv producer, <a href="https://www.discogs.com/artist/8288994-Argov">Argov</a>, the son of U.N. diplomatic envoys shuttles between the celestial and the concrete, the desire to transcend and the gravity of earthly laments.<br>
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'Nandez is, paradoxically, a figure of the avant-garde and a traditionalist, a bridge between the heroes of the past and the impossible to define future. The rhyme schemes are an intricate labyrinth, hand-written in a monkish apartment in The Lower East Side, where 'Nandez wrote most mornings until dawn, sipping expresso and chain-smoking cigarettes. 'Nandez summons metaphors of <a href="https://gabenandez.bandcamp.com/track/louis-xiv">Louis XIV</a> and murderous pirates, one-sided robberies, and ruminations on ancient scriptures. Chester Watson appears out of thin air on <a href="https://gabenandez.bandcamp.com/track/aeons-ft-chester-watson">"Aeons"</a> and Ze Knoma Mpaga Ni Ngoko offers a masterclasses in French rapping on <a href="https://gabenandez.bandcamp.com/track/wolfpack-7000-ft-ze-nkoma-mpaga-ni-ngoko">"Wolfpack 7000"</a> and <a href="https://gabenandez.bandcamp.com/track/kujua-ft-ze-nkoma-mpaga-ni-ngoko">"Kujua."</a> There are divinations of intimidating monsters and penitent offers of prayer and food. Flashbacks to huffing aerosol at the bus stop as a teenager, the chaos that followed, and the startling epiphany that somehow he survived through it all. All throughout, there is the recurring theme of a heartbreak that threatened to reduce him to ashes, only for him to persevere, finding an indomitable inner strength and inspiration from the Greek God, Hermes, the thrice-born sage who sparked the project's namesake—Hermes Trismegistus x 3 AKA H.T. III<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2943619805/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=538620837/transparent=true/" seamless><a href="https://gabenandez.bandcamp.com/album/gabe-nandez-h-t-iii">Gabe 'Nandez - H.T. III by Gabe 'Nandez</a></iframe></center>
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In a sense, the dazzling performance might not be much of a surprise for those who have followed the path of the artist raised between Haiti and Tanzania, Jerusalem and New York. Someone who has soaked up cultures, customs, and new languages the way other kids might have catalogued Pop Culture ephemera. Last year, he appeared alongside the renowned Detroit emcee Boldy James on Aethiopes, the acclaimed album by fellow New Yorker <a href="https://www.youtube.com/watch?v=MG6BtaxmbVc">billy woods</a>. There is much more on the horizon, but 'Nandez's latest effort might be his most complete statement to date. The result of experiencing death and re-birth, the realization that the answers are contained within. A work from a virtuoso replete with implacable strength, divine power, and powerful psychedelic visions. H.T. III is truly as wild a sonic ride as the outlandish origin story behind it! Gabe Nandez's <a href="https://lnk.to/JuK1c1pD">H.T. III</a> is now available on streaming services through P.O.W. Recordings.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-11756828509220006532023-09-15T08:43:00.005-07:002023-09-18T07:30:17.389-07:00Garrett Rothman & Dave Smalley On The Benefits of Not Sleeping, Don't Sleep's New Album See Change & Calling Hours (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnjI7oSvZOSRkQIdexT_i9YMRsEeOTemOMgqc-fGuSEKtyiAk-pTHesi1JEd-IUxJmyov8IG36BrEsdWNQdhGpMhHX8pkBCgUArobNn3sRotRBI6tAq1M5nBdXKa1tP6uuOt_n4HKMjpfzBEj4_usmu2KiYMdRey7N5H1QnMLXNn7DX28lMW0Q4VpREMAc/s1900/Don%27t%20Sleep,%202023%20%28photographer%20unknown%29.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnjI7oSvZOSRkQIdexT_i9YMRsEeOTemOMgqc-fGuSEKtyiAk-pTHesi1JEd-IUxJmyov8IG36BrEsdWNQdhGpMhHX8pkBCgUArobNn3sRotRBI6tAq1M5nBdXKa1tP6uuOt_n4HKMjpfzBEj4_usmu2KiYMdRey7N5H1QnMLXNn7DX28lMW0Q4VpREMAc/s620/Don%27t%20Sleep,%202023%20%28photographer%20unknown%29.png"/></a></div></center><b><i><small><font color="blue">Don't Sleep 2023 band photo (CREDIT: unknown)</b></i></small></font><br />
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Whoever said "lightning only strikes once" clearly has not met Dave Smalley. From being right in the middle at the birth of US Hardcore Punk with D.Y.S. to creating the blueprint of Melodic Hardcore with Dag Nasty, from helping to invent Pop-punk as we know it with ALL to finding himself in the middle of the West Coast Punk explosion of the 90's with Down By Law: Smalley was always on the forefront every time Hardcore Punk stretched its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records. When he founded Don't Sleep with fellow East Coast Punk Rockers Garrett Rothman, Tony Bavaria, Jim Bedorf, and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic Hardcore band again.<br>
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Being motivated by the immense positive feedback, Don't Sleep was finally ready to release its debut album, Turn The Tide, in 2020. And, then, the world came to a grinding halt... but after the dust settled, all five members decided that Don't Sleep was too important to not overcome all obstacles thrown in their way. The five-piece went back into the rehearsal room, finished eight original songs and added an amazing Tom Petty cover to the mix. The result is Don't Sleep's second full-length, See Change, which was released earlier this summer world-wide compliments of End Hits Records. It's a record that combines all elements you have liked about Dave Smalley's music in the past while sounding incredibly contemporary in the here and now.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=712673139/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2011779674/transparent=true/" seamless><a href="https://endhitsrecords.bandcamp.com/album/see-change">See Change by Don't Sleep</a></iframe></center>
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"Don't Sleep is very much a combination of five distinct friends coming together and making a unique sound," Smalley says. "It is a rare thing to have such cool synergy and energy and end up focused like a laser beam. It is powerful, melodic, and purposeful. We respect and love the common roots we all grew up in and are coming together to make a sound with that as our foundation, but, also, looking to the future and growing." Big help to make See Change sound so fresh and current came from an unlikely pair of producers, the GRAMMY Award-winning team of Carson Slovak & Grant McFarland.<br>
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Guitarist Tony Bavaria explains the unusual choice: "while they've worked a lot in the Metalcore world (i.e. August Burns Red, Polaris,) they've, also, done some really great sounding Rock records for bands like LĪVE, Candlebox, and Everclear. But they are, also, local Hardcore/Punk guys we knew for almost 20 years. Knowing how talented they are and the diversity of their work, we really wanted to see what they would be able to bring to the table. It was awesome to have the opportunity to work with them in a world-class studio that would probably not be available to a Hardcore band like us!" We recently got a chance to conduct a comprehensive emailed interview with Don't Sleep's Garrett Rothman & Dave Smalley. It's been lightly edited for general clarity and you can check it out now below the break. See Change is now available on <a href="https://endhitsrecords.com/products/dont-sleep-see-change?_pos=1&_sid=c2c704235&_ss=r">End Hits Records</a> on limited colored vinyl with two different cover options (one for North America and one for Europe/UK.) The digi-pack CD version will contain eight bonus songs that have not been available on CD previously.<br>
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<b>I. Who are the current members of Don't Sleep and what is each member's role within the band?</b><br>
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<b><font color="teal">Garrett Rothman:</font></b> Dave Smalley - vocals<br>
Garrett Rothman - bass<br>
Tom McGrath - guitar<br>
Tony Bavaria - guitar<br>
Jim Bedorf - drums<br>
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<b>II. How would you say Don't Sleep's sound has changed, evolved, and progressed as heard on your new album, See Change, since your last full-length effort, 2020's Turn The Tide?</b><br>
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<b><font color="teal">Rothman:</font></b> That's an interesting question because we, actually, recorded all the songs for <a href="https://www.discogs.com/master/1799949-Dont-Sleep-Turn-The-Tide">Turn The Tide</a> & See Change in the same [sessions]. This requires me to give some backstory: we signed a two-record deal with Victory Records and we had written two albums-worth of songs. So, we decided to record two records-worth of material at the same time with the plan to release them about 18 months apart from each other.<br>
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Just prior to the release of Turn The Tide, Victory sold to Concord [Records, which is a catalogue-only label. So, things were a little up-in-the-air regarding who would release the record, but Tony Brummel from Victory decided to start a new label called <a href="https://www.discogs.com/label/1849528-Mission-Two-Entertainment">Mission Two [Entertainment]</a> and had already signed Cro-Mags & INSIGHT, so it had all the makings of being a "cool" label. So, we went with Mission Two. Mission Two released Turn The Tide in fall 2020, but pretty shortly thereafter, they shut things down and Tony Brummel gave us the songs that had been recorded for the second album. Fortunately, we hooked up with End Hits Records for the release of See Change.<br>
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So, there's a lot of crossover of sound and energy between Turn The Tide & See Change. One difference between the two records, though, is that See Change has a couple of songs that are heavier than any of the songs on Turn The Tide, like "Time to Fight" and "Outside In." We all like heavy music and that sound hadn't, necessarily, reared its head in our previous recordings. Dave, especially, loves Motörhead, Judas Priest, and Iron Maiden. So, it felt good to veer (a little) into that territory. Also, we broke some new ground as far as Don't Sleep goes with the song "Love Is The Suture," which definitely has some influence from The Jam & The Buzzcocks.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=712673139/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3961684826/transparent=true/" seamless><a href="https://endhitsrecords.bandcamp.com/album/see-change">See Change by Don't Sleep</a></iframe></center>
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<b>III. What did the typical writing, recording, production, creation, etc. processes behind See Change generally entail?</b><br>
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<b><font color="teal">Rothman:</font></b> In terms of writing, all the "musicians" in Don't Sleep live in the smallish town of Harrisburg, Pennsylvania. So, generally, when we are in writing mode, we get together weekly to jam, hang out, and work through songs. Our guitarist, Tom [McGarth], is the Riff Master in the band. So, most of the songs start with a riff that he shows us and, then, we structure the rest of the song from there. Once we've worked out a song that we feel pretty good about, we demo it and send it to Dave [Smalley] to develop the vocals and lyrics and, then, we're ready to take it into the studio.<br>
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As far as recording goes, most of the music for See Change was tracked at a studio called Think Loud [Studios] in York, Pennsylvania, about 30 minutes from our town. The studio was built and owned by the band LĪVE, which was a Grunge [Lite] band in the 90's from our area that sold, like, 20 million albums back in the day! So, they had the budget to build a proper, plush studio. The studio was incredible—it had a massive drum room and even had one of Kanye [West]'s old vocal booths in it! It, also, had two gourmet-style kitchens, a sick living room area, and a couple of guest rooms that looked like they were in fancy hotels. Needless to say, when you’re in a studio like that, you feel super-comfortable and, sometimes, you don’t even feel like leaving at the end of the session. What an experience!<br>
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The musical tracking on See Change was done by <a href="https://www.discogs.com/artist/1895703-Carson-Slovak">Carson Slovak</a> & <a href="https://www.discogs.com/artist/3478700-Grant-McFarland-2">Grant McFarland</a>—two über talented producers and engineers, who we've known for a long time. They have produced GRAMMY-nominated records for August Burns Red and worked with other big bands, like Everclear & LĪVE and even recently did some tracking for Justin Bieber & Mariah Carey, but they come from the Hardcore world and understand the sound and aesthetic we were looking for. Those guys are very cool and very professional. They have since moved their studio to Lititz, Pennsylvania on <a href="https://rocklititz.com/campus">The Rock Lititz Campus</a> and it's now called Atrium Audio. It's a great studio!<br>
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Dave tracked his vocals with Pedro Aida at <a href="http://www.audioveriterva.com/">[Audio] Verite [Recording Studio]</a> in Richmond, Virginia. Pedro created a very laidback and positive environment for tracking and it was really fun to watch his process. Pedro & James Menefee, who both play in the band <a href="https://funsize.bandcamp.com/track/end-of-the-road">Fun Size</a>, did some of the cool harmonies on the record. Thanks, guys!<br>
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<b>IV. Who or what would you readily cite as some of your greatest sources of inspiration and influence while creating See Change?</b><br>
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<b><font color="teal">Rothman:</font></b> That's a great question! We are all Hardcore lifers, so it would be impossible to list all of the bands and music that inspire us and influence our song-writing, but definitely the foundation of our sound is influenced by our favorite bands from Dischord [Records], Epitaph, and Revelation [Records] and, also, some pioneering Punk bands, like The Clash, [The] Buzzcocks, and The Jam. One obvious influence on Don't Sleep is Dag Nasty, especially, the Can I Say (1986) era. That record will always loom over the sound of Don't Sleep. <a href="https://dagnasty.bandcamp.com/album/can-i-say">Can I Say</a> is, personally, one of my favorite records of all time and I think the songs, the vocals, and the aesthetic changed Hardcore music forever and really spoke to and inspired me. Dave's vocals on that record are genius, and I think we've at least tried to capture that same energy with Don't Sleep.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObjz_uCpEPlM7jzPSgq2JdA7l7B_kNX9EuVTdsAtxVjceq7gZm9_8m0zeoUZ1n3gjVtO_p2HO77vYS9ylUo5JMDfW9qmqWRAAnaMQ_BuKWOf5koTvQX_ZGj12VSf4uwg9JX5l5mBUHUH20BnnDNc3dVQH-mgLkPv4NGC7RdjCOPVrB38Ljz9knOIqRPKf/s1900/R-27349620-1686465325-5801%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObjz_uCpEPlM7jzPSgq2JdA7l7B_kNX9EuVTdsAtxVjceq7gZm9_8m0zeoUZ1n3gjVtO_p2HO77vYS9ylUo5JMDfW9qmqWRAAnaMQ_BuKWOf5koTvQX_ZGj12VSf4uwg9JX5l5mBUHUH20BnnDNc3dVQH-mgLkPv4NGC7RdjCOPVrB38Ljz9knOIqRPKf/s620/R-27349620-1686465325-5801%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="blue">Don't Sleep's See Change End Hits Records' limited edition vinyl variant with screen-printed cover (CREDIT: Simon Tripcony, @onetricpony)</b></i></small></font><br />
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<b>V. How did the band come to meet and commission UK graphic designer Simon Tripcony (@onetricpony) to create the album art, screen-printed cover, and T-shirt for the See Change album cycle?</b><br>
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<b><font color="teal">Rothman:</font></b> I became aware of Simon's design work a couple of years ago when I started noticing the re-makes of classic <a href="https://www.instagram.com/onetricpony/">show flyers</a> that he was making. His aesthetic was so cool and I loved his use of bright colors and repeating graphics. Brian McTernan's name will be coming up a lot in this interview... but Simon designed the cover art for Brian's band, BE WELL's Hello Sun EP and some of the T-shirts, tour flyers, and stuff like that for BE WELL and it all looked fantastic. In conversation, we asked Brian what his experience had been with Simon and he had nothing but glowing things to say about Simon. So, we hit him up and asked if he'd be interested in working with us on designing the various versions of See Change and some T-shirt designs and luckily he said "yes."<br>
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The biggest challenge in working with Simon is he's very prolific and will send several different options for the artwork and they're ALL good! We loved pretty much everything that Simon sent to us, so the hard part was figuring out which one to use. Thanks, Simon!<br>
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<b>VI. What inspired you guys to decide to record a cover of Tom Petty & The Heartbreakers' "Runnin' Down A Dream" and include in within See Change?</b><br>
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<b><font color="teal">Rothman:</font></b> We are all big Tom Petty fans and, actually, recorded <a href="https://www.youtube.com/watch?v=Y1D3a5eDJIs">"Runnin' Down A Dream"</a> shortly before he passed away. Personally, I don't like cover songs that sound exactly like the original, so we consciously tried to spice the song up with some heavier drums and guitars and even a little Hardcore breakdown part. Dave's rendition of the vocals are really interesting because he resisted the natural tendency to just do a screamier, Punker version of the vocals and, instead, lays back a little, which I think sounds amazing and in some ways, kinda soothing. We were, of course, very saddened to find out about Tom Petty's passing and hope that this cover, in our own very small way, adds something to his legacy.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/QLciBW-Saes?si=lVTpPtvBF4-kFfTG" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>VII. What can you tell us about the making-of and concept behind Don't Sleep's latest "Promise Made" music video?</b><br>
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<b><font color="teal">Rothman:</font></b> The lyrics to "Promise Made" are about being Hardcore & Punk Rock lifers, so we thought it would be fun to make a video with a storyline about a typical band experience. So, the video follows a quintessential day-of-show experience for a scrappy young Hardcore band. So, it follows a fictional band called Fear of Failure as they run around town putting up flyers and handing out flyers to random people on the street—in fact, Tony from Don't Sleep & I make a cameo appearance in the video where we're handed flyers and, to the dismay of the guys who handed us the flyers, we throw them in the trash—then, we see the band practicing in the basement before the show (that was filmed in our actual practice space in our guitarist Tom's basement!) Next, we see the band loading their equipment into the venue and, finally, they rock out on stage giving it all of their energy and enthusiasm and there's twist at the end that every band can relate to. Check out the video!<br>
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Just wanted to mention that the band in the video is played by some amazing teenagers, including my son, Theo, on bass and our guitarist, Tom's son, Evan, on guitar. All of the kids did a great job and really made the video cool! Also, check out the videos we made for "Dead On The Inside" and "20/20." The "Dead On The Inside" video follows a few young pro skaters around Arlington, Virginia at a skate park and hanging out in front of a landmark Punk house in that town. The video came out great!<br>
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<b>VIII. How did guys end up linking up and deciding to go with End Hits Records to release See Change?</b><br>
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<b><font color="teal">Rothman:</font></b> We are so psyched to be on End Hits! When it became apparent that Mission Two was wrapping up as a label, we began to think about who we'd like to release See Change and End Hits was definitely on the short list. We were lucky to record some of our previous album, Turn The Tide, with <a href="https://www.discogs.com/artist/260497-Brian-McTernan">Brian McTernan</a> (BE WELL, Battery, Salad Days Studio) and, in the process, got to know Brian not just as a producer and musician, but as a great friend and someone who we trust and respect implicitly. End Hits released the European version of BE WELL's Hello Sun [EP] record. We talked with Brian to get some feedback from him on his experience with End Hits and Brian had nothing but great feedback. Also, End Hits has released a ton of great records from bands we love, like TERROR, Shelter, Hot Water Music, and As Friends Rust. So, we knew we'd be in great company!<br>
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Luckily, [End Hits' CEO and founder] Oise [Ronsberger] loved the songs and was already a fan of the band, so he approached us about releasing the record. Oise has been amazing to work with—he's super-supportive of Don't Sleep and has had some fantastic ideas about how to promote our record, cool packaging ideas, etc. We feel super-fortunate to be working with End Hits.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=712673139/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3867475010/transparent=true/" seamless><a href="https://endhitsrecords.bandcamp.com/album/see-change">See Change by Don't Sleep</a></iframe></center>
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<b>IX. What is the significance behind or intended meaning of the title of the latest Don't Sleep album, See Change?</b><br>
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<b><font color="teal">Rothman:</font></b> Hardcore music means different things for different people, but for us, we love the Hardcore tradition of "personal politics"—music being an inspiration to change yourself first, in order to, also, [in] effect, change in your community and, ultimately, the world. Bands that approached their music in a similar way that come to mind include 7Seconds, Embrace, Youth of Today, [and] Gorilla Biscuits. So, in keeping with this tradition, the title See Change is a reference to visualizing how you'd like to make positive change in your life and, then, taking the steps to actualize those changes.<br>
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<b>X. What can you tell us about your other project, Calling Hours, which features all of you along with Michael "Popeye" Vogelsang (Farside, Ice)? When can we expect to hear a taste of your upcoming Revelation Records debut?</b><br>
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<b><font color="teal">Rothman:</font></b> <a href="https://www.facebook.com/CallingHoursMusic">Calling Hours</a> is made up of Tom, Tony, Jim & [I] from Don't Sleep and Popeye from Farside on vocals. It has a different vibe than Don't Sleep and allows us to "scratch an itch" that we have had for a long time, but wouldn't really fit in with the Don't Sleep sound. A few years ago, Popeye moved from Orange County, California to a town in Pennsylvania about two hours away from us. So, logistically, we're able to write and record music pretty easily with him. We recorded an EP called Say Less with Brian McTernan and it’s going to be released by Revelation Records in fall 2023. We should be releasing some singles for the record starting [in] late summer 2023.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBTbDmj5nyAFphSih0VkvttCtbXF0nEYftSdGMNYRD1vRFJQPjptWBNPAvpSF8YLaklX6J1nqx5nNIraYFrchCmiGaC28ZKJJXvTCroga3eXN-W1yZ15o2X0TCOPt7iSSpYhtc0MhrN96todjVV7NwdExz34ypxXkqR-x5evvhBJ5_Lrq8_aecalzwJuyf/s1900/378813430_282470481227745_1245260637258898742_n%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBTbDmj5nyAFphSih0VkvttCtbXF0nEYftSdGMNYRD1vRFJQPjptWBNPAvpSF8YLaklX6J1nqx5nNIraYFrchCmiGaC28ZKJJXvTCroga3eXN-W1yZ15o2X0TCOPt7iSSpYhtc0MhrN96todjVV7NwdExz34ypxXkqR-x5evvhBJ5_Lrq8_aecalzwJuyf/s620/378813430_282470481227745_1245260637258898742_n%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="orange">Calling Hours show flyers (SOURCE: Facebook)</b></i></small></font><br />
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<b>XI. What's planned next for Don't Sleep?</b><br>
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<b><font color="teal">Rothman:</font></b> We are having a lot of fun introducing See Change to the world—we love this record and are so proud of these songs. We're looking forward to very soon making a tour announcement and having the opportunity to play the See Change songs live on stage, catching up with some old friends on tour, and making some new friends! We'll see you in the pit!<br>
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<b>XII. Dave Smalley, What's the likelihood of you recording, making, and releasing music and/or touring again with Bill Stevenson, Stephen Egerton & Karl Alvarez (Descendents) together as ALL?</b><br>
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<b><font color="red">Dave Smalley:</font></b> You never know! I'd love to play or record [with] ALL any time. No, ALL!<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-72966915760400812532023-09-07T20:53:00.007-07:002023-09-08T11:24:23.213-07:00Chopping It Up with Tightwire's Tane Graves About Head Full of Snakes, Red Scare Industries & Working with Dillinger Four's Paddy Costello (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDMFX0I5D6_1cs1rjLTQaT1LQXMypfAQq-80JKTjEXMMPDHXs0ZaYfmbKvOXA7RSYILki9D6jvuVNxx2E3lVrOLrF7MCfINO3XhPA4Ro-9fdgrBcO-bGqJr3_ZnRL8uB_HrU-y1A02DyiBAvdCJgOlCtEWHRAKlna5jX_EN46jhFA9u-UzSISNpUiiHh0y/s1900/350532834_962273091566572_6886451001389177004_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDMFX0I5D6_1cs1rjLTQaT1LQXMypfAQq-80JKTjEXMMPDHXs0ZaYfmbKvOXA7RSYILki9D6jvuVNxx2E3lVrOLrF7MCfINO3XhPA4Ro-9fdgrBcO-bGqJr3_ZnRL8uB_HrU-y1A02DyiBAvdCJgOlCtEWHRAKlna5jX_EN46jhFA9u-UzSISNpUiiHh0y/s620/350532834_962273091566572_6886451001389177004_n.jpg"/></a></div></center><b><i><small><font color="green">Tightwire full-color illustration (CREDIT: David Buist, @david_buist)</b></i></small></font><br />
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The best Pop-punk bands come from the Midwest. That thar's a scientific fact. Another proven law of Ramones-core is that the second album is even better. So, you can see why we're fired up about this new record: <a href="https://tightwirempls.bandcamp.com/album/head-full-of-snakes">Head Full of Snakes</a> is destined for greatness! Tightwire came storming outta Minneapolis in 2018 with a catchy/crusty/spooky debut, Six Feet Deep, and toured with Dillinger Four, CHIXDIGGIT!, Off With Their Heads, and more. Since then, they've only gotten stronger with the addition of Noelle Stolp on second guitar and added vocals. She's Iowa Punk royalty!<br>
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And now that Tightwire 2.0 is armed with 12 new songs about darkness and damnation, they'll be hitting the road on some tasty tours and festivals. It appears as though since Tightwire's 2018 effort, Six Feet Deep, the band has gone through some major changes, re-structuring, revitalization, and is now back better than ever! We got achance to speak with Tightwire bassist and vocalist Tane Graves about their latest effort, Head Full of Snakes, and what's planned next for the band. Head Full of Snakes is now available on <a href="https://redscare.storenvy.com/collections/9915-all-products/products/36480331-tightwire-head-full-of-snakes-lp-cccp-248-1">Red Scare Industries</a>. Additionally, you can catch <a href="https://tightwirempls.com/home#shows">Tightwire</a> on tour now through late October with Teenage Bottlerocket.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/NRPeYvvSYfU?si=jx0N5gewxicBB3IY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>I. Who are the current members of Tightwire and what is each member's role within the band?</b><br>
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<b><font color="red">Tane Graves:</font></b> Noelle Stolp - guitar/vocals (Intelligent One)<br>
Tane Graves - bass/vocals (Wild Card)<br>
Paul Mullaney - guitar/vocals (Sex Appeal)<br>
Parker Thompson - drums (Sex Appeal)<br>
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<b>II. How did you guys end up linking up with Red Scare Industries to unleash your latest album, Head Full of Snakes?</b><br>
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<b><font color="red">Graves:</font></b> Red Scare [Industries] had put out our previous release and, although, we had million-dollar offers from major labels, we figured we’d help Red Scare out once more with this masterpiece.<br>
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<b>III. How would you attempt to best describe the sounds to be heard across Head Full of Snakes for new fans and/or first-time listeners?</b><br>
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<b><font color="red">Graves:</font></b> Pop-punk for 35-year-old drunks, who hide their neck fat with beards.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/PH7hHyoj9zo?si=W1mrwQmmOpb-qz6B" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>IV. Who or what would you readily cite as some of your greatest sources of inspiration and influence while creating Head Full of Snakes?</b><br>
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<b><font color="red">Graves:</font></b> <a href="https://dark-thoughts.bandcamp.com/album/must-be-nice">DARK THOUGHTS</a> (the band and the ones in my head,) depression, alcoholism, [and] Jesus Christ.<br>
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<b>V. What did the typical writing, creation, recording, production, etc. processes behind the making-of Head Full of Snakes generally entail?</b><br>
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<b><font color="red">Graves:</font></b> Get drunk, feel sorry for myself, write the song on voice memos, sober up, record the more coherent version in my basement, send it to our engineer, who makes it sound like it wasn't recorded in a basement, [and,] then, go to an [Alcoholics Anonymous] (A.A.) Meeting.<br>
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<b>VI. How would you say Tightwire's overall sound has grown, evolved, changed, and progressed since your last original release, 2018's Six Feet Deep?</b><br>
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<b><font color="red">Graves:</font></b> Six Feet Deep was an extremely rushed recording process, so this time around we took our time to record many layers of guitars, organ parts, and vocal harmonies. We lost a singer and replaced him with two others. So, I'd say our sound has become more full both on recordings and live.<br>
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<b>VII. In addition to or aside from the members of Tightwire, who helped created and worked on making Head Full of Snakes?</b><br>
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<b><font color="red">Graves:</font></b> Tobias Jeg (Red Scare) offered guidance by gently telling us what song to not put on the record, Xander Moser, who mixed the sh*t out this record at his amazing studio, TreeSpeak [Recording Studio] in Northeast [Minneapolis, Minnesota], Matt Webster from <a href="https://supportiveparents.bandcamp.com/">Supportive Parents</a>, who layered a million tracks of vocal harmonies, and Paddy [Costello] from <a href="https://www.discogs.com/artist/291698-Dillinger-Four">Dillinger Four</a>, who screamed all over one of the songs. I'm probably forgetting a few others—sorry!<br>
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<b>VIII. What's the significance, intended meaning, and/or original source of the image seen across the Head Full of Snakes album cover?</b><br>
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<b><font color="red">Graves:</font></b> They are the same two characters from our first record. The mad scientist and his helping hand, Iggy. The artwork for both albums were created by our friend and artist, C.M. Dugan. The album cover is meant to continue the story of the characters working on the body they exhumed from the grave on the cover of our first record, [<a href="https://tightwirempls.bandcamp.com/album/six-feet-deep">Six Feet Deep</a>].<br>
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<b>IX. Do you fellas have any immediate plans to tour behind or in support of Head Full of Snakes?</b><br>
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<b><font color="red">Graves:</font></b> We have tours coming up with Audio Karate, Teenage Bottlerocket, and a few others we can't announce quite yet. You can find your details on our website and socials.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1706657630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2157657897/transparent=true/" seamless><a href="https://tightwirempls.bandcamp.com/album/head-full-of-snakes">Head Full Of Snakes by Tightwire</a></iframe></center>
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<b>X. If you had to pick a specific beer and or alcoholic drink to suggest having while listening to Head Full of Snakes, what would you suggest drinking and why?</b><br>
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<b><font color="red">Graves:</font></b> High-proof hard liquor. The challenge is to get drunk before the 19-minute record ends.<br>
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<b>XI. Who designed the album cover artwork for Head Full of Snakes? What can you tell us about your decision to have such vile, repulsive artwork commissioned for the LP?</b><br>
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<b><font color="red">Graves:</font></b> "Vile?" "Repulsive?" I guess I didn't realize this was a good Christian interview... (EDITOR'S NOTE: this was a mix-up on my part during the initial emailing of these questions to Tightwire, although, it yielded a humorous response!) The artwork for both albums were created by our friend and artist, <a href="https://www.cmdugan.com/">C.M. Dugan</a>. He's the best.<br>
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<b>XII. What's planned next for Tightwire?</b><br>
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<b><font color="red">Graves:</font></b> Playing as many shows as possible, doing podcasts, keeping Tane sober, and visiting the best toy/collectible shops in every town we pass through.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eNwawE5bx37k4adiwUIFd85JcfHgkZaeTTaKggStDIyeubLINOsgVhowZ8phSL2LCMzlvo4NcHO3ZQu597oBFGSr9qkV55_C75DAlyvg68d9JJ8AlnV2saVMD-Vc37NBvrckXR7wk_SLryU-pY_-JAscNi1XLvwJVf42VwMVBVXScVPk0RBXHJuUI96D/s2000/Tightwire%20September%20%2723%20Tour%20Flyer%20%28square_%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eNwawE5bx37k4adiwUIFd85JcfHgkZaeTTaKggStDIyeubLINOsgVhowZ8phSL2LCMzlvo4NcHO3ZQu597oBFGSr9qkV55_C75DAlyvg68d9JJ8AlnV2saVMD-Vc37NBvrckXR7wk_SLryU-pY_-JAscNi1XLvwJVf42VwMVBVXScVPk0RBXHJuUI96D/s720/Tightwire%20September%20%2723%20Tour%20Flyer%20%28square_%29.jpg"/></a></div></center><b><i><small><font color="green">Tightwire's September '23 Tour flyer (SOURCE: Facebook)</b></i></small></font><br />Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-45492688012707270632023-08-21T09:21:00.001-07:002023-08-21T09:21:46.287-07:00Unleashing Emotion & Attitude: A Closer Look at "Drama Queen" By wattmilliams Featuring antguydude (Drama Queen Spotify Playlist)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJPvHZobxBMJDS5No8MVvxmg6TkA8iW6w_nJ9zcBDBg7H4wMn0-0ZoZILRpJuRDYOIeuTJVYlpHwOa8eVEHaDcVbzEeVIdoYwzEw610FKC2sY7l6L_rH4lHY2rksTXgwZ899SnxkY70iQn0D3MvmnPoToMlmEUQDKy7WhQkCWhWuxstLvDaFXVzxxTHo1/s1900/wattmilliams%20%28CREDIT,%20Rob%20Cella%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJPvHZobxBMJDS5No8MVvxmg6TkA8iW6w_nJ9zcBDBg7H4wMn0-0ZoZILRpJuRDYOIeuTJVYlpHwOa8eVEHaDcVbzEeVIdoYwzEw610FKC2sY7l6L_rH4lHY2rksTXgwZ899SnxkY70iQn0D3MvmnPoToMlmEUQDKy7WhQkCWhWuxstLvDaFXVzxxTHo1/s620/wattmilliams%20%28CREDIT,%20Rob%20Cella%29.jpg"/></a></div></center><b><i><small><font color="red">wattmilliams' Matt Williams (CREDIT: Rob Cella)</b></i></small></font><br />
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Matt "wattmilliams" Williams a passionate musician, song-writer, bass guitar teacher, audio engineer, and real estate agent active within the thriving music scene of Philadelphia/South Jersey. Primarily playing the bass guitar, Williams has accumulated years of valuable experience through touring, session work, and collaborations with esteemed artists, such as HUXLEY, Good Look, Sigourney, Gold Coyote, Garden State Radio, and The Shimmy Shimmy's. Williams has been fortunate enough to play direct support for a wide range of acts across various genres, including Living Colour, Disturbed, The Pretty Reckless, Royal Blood, Punchline, Lit, and more. These opportunities have allowed Williams to showcase his versatility and adaptability as a musician. While <a href="https://wattmilliams.bandcamp.com/track/drama-queen-ft-antguydude">"Drama Queen"</a> exudes raw energy and unapologetic rebellion, it offers much more.<br>
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Demonstrating his creative audacity, this gritty exploration delves into the mindset of those who thrive on chaos, existing in a world where melodrama reigns supreme. The lyrics, such as "I've always had problems trying my best and this time you can't give it a rest..." perfectly capture the snide actions and sarcasm of the story's lead character. Through clever wordplay and witty storytelling, <a href="https://www.wattmilliams.com/">wattmilliams</a> unravels a tale of intense emotions and rollercoaster antics. Recognizing the importance of supporting artists through platforms like Bandcamp, he, also, introduces a line of merchandise that complements his music. Williams' hand-made <a href="https://wattmilliams.bandcamp.com/merch/the-emergency-gig-kit-must-have-essentials-for-the-unprepared-musician">The Emergency Gig Kits</a>: Must-Have Essentials for The Unprepared Musician are thoughtfully designed for concert-goers who enjoy a fully immersive experience.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=1551206877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="https://wattmilliams.bandcamp.com/track/something-right">Something Right by wattmilliams</a></iframe></center>
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Williams' fans provide crucial support through Bandcamp, ensuring the sustainability of wattmilliams' artistic endeavors. Drawing from his extensive experience as a professional bass player, performing alongside acts like HUXLEY & Garden State Radio, wattmilliams infuses "Drama Queen" with infectious energy. The track is characterized by powerful guitar riffs provided by fellow local musician <a href="https://www.youtube.com/@antguydude3242">antguydude</a> and rebellious vocals, seamlessly blending his diverse musical background into a captivating Punk Rock anthem. "Drama Queen" stands as a daring testament to wattmilliams' unwavering commitment to his craft. By fearlessly embracing a snide and sarcastic tone in his song-writing akin to blink-182 and/or SUM 41, he showcases artistic courage and determination to push boundaries. As fans eagerly anticipate what lies ahead, it is clear that wattmilliams' musical journey promises to be an exhilarating and captivating ride, fueled by authentic self-expression and unapologetic artistry.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=2015135995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="https://wattmilliams.bandcamp.com/track/this-will-hurt">this will hurt by wattmilliams</a></iframe></center>
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Directly inspired by his recent foray into Pop-punk/Punk Rock, Matt Williams curated a 17-song Drama Queen Spotify playlist exclusively for The Witzard he's fittingly described as "🤘 Skate Punk frantic nostalgia. Inspiration for "Drama Queen" 🛹." wattmilliams' "Drama Queen" is now available on streaming services, along with his two other recent singles, "Something Right" (a <a href="https://www.youtube.com/watch?v=33XGez1VWSY">Microwave</a> cover,) and original composition, "this will hurt." wattmilliams' aforementioned The Emergency Gig Kit: Must-Have Essentials for The Unprepared Musician is now available exclusively on Bandcamp in extremely limited quantities.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-49164705937836172512023-08-10T08:13:00.007-07:002023-08-10T11:32:59.138-07:00The Golden Repair: A Closer Look At The Artwork for Will to Live's The Therapy Sessions with Roberto Galdamez (Album Artwork Breakdown)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn8JMYKO4AAgm5rfaSdPCYDkENAO-ZwpLNt2V4c_cmyxZYXmy7fw35L6MPVjpLZ1wN1V0DmzkFlGxSPqaA8JhEZrTPFoS40HlnCS2gXv6V_KzPg8abJCabVlHmUTA4-JWWiYLBz3HJGkne2-q-aiqojeow-Sgp1MZz846-IxhK2k5ShCYp6hhS4UfEk9WW/s1900/Roberto%20Galdamez%20TTS1%20%28CREDIT,%20Esperanza%20Galdamez%29%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn8JMYKO4AAgm5rfaSdPCYDkENAO-ZwpLNt2V4c_cmyxZYXmy7fw35L6MPVjpLZ1wN1V0DmzkFlGxSPqaA8JhEZrTPFoS40HlnCS2gXv6V_KzPg8abJCabVlHmUTA4-JWWiYLBz3HJGkne2-q-aiqojeow-Sgp1MZz846-IxhK2k5ShCYp6hhS4UfEk9WW/s620/Roberto%20Galdamez%20TTS1%20%28CREDIT,%20Esperanza%20Galdamez%29%20EDIT.jpg"/></a></div></center><b><i><small><font color="blue">Roberto Galdamez pictured with the original Will to Live The Therapy Sessions oil painting (ART: P.J. Svejda / CREDIT: Esperanza Galdamez)</b></i></small></font><br />
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Formed in 1997 with the purpose of establishing a united Texas Hardcore scene, Will to Live was at the forefront of a new wave of bands there that would, eventually, carry the flag for the Lone Star State into the future. They helped push their local scene in becoming a hotbed for Internationally-renowned acts, such as POWER TRIP, Frozen Soul, IRON AGE, Bitter End, and many more. Combining insightful, inspiring lyrics with the unmistakable spirit and ethos of Hardcore Punk with the brutality of Death Metal breakdowns, Will to Live has written pummeling anthems that have earned the band a die-hard following in Texas and abroad for over 20 years. Now in 2023, history continues for Will to Live. Helmed by vocalist Roberto "Rob to Live" Galdamez (TRUE INTENTIONS, Outpost 31,) drummer Mike "Fury" Arellano (Spirit Adrift, Method of Destruction,) bassist Eric Gibson, and guitarists Daniel "The Reverend White Devil" Austin (Tooth & Claw, Die Young) and Chris "Conflict" Hatfield, the group has triumphantly returned with new material from their latest album, <a href="https://www.noecho.net/features/will-to-live-texas-hardcore-band">The Therapy Sessions</a>.<br>
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It's without a doubt, "a wall of sound as heavy as any in the band's history, but with a fresh, masterful delivery." The lyrics for each track are conceptually representative of notes from a therapy session; these eight tracks encompass seven stories of individuals surviving first-hand accounts of emotional abuse, spousal abuse, indoctrination, loss, depression, post-traumatic stress, etc. Equally as heavy as the album's content is the album's companion cover. I quickly leanred in chatting online with Galdamez that he was very passionate and had A LOT to say about nearly every aspect of The Therapy Sessions; this, of course, including the P.J. Svejda-designed album artwork and packaging. So, with this, Rob, myself, and the band, collaboratibely cpncocted an idea to have Roberto "Rob" wax poetic about the artwork for The Therapy Sessions, packaging, vinyl varients, and how all of this tied into the themes heard across said ripping new album. Will to Live's <a href="https://idioteq.com/texas-hardcore-band-will-to-live-return-with-intense-new-album-the-therapy-sessions/">The Therapy Sessions</a> is now avilable on Another City Records.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/rrqMpVUvKfY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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When the guys and I decided that it was time to write a new Will to Live record, one thing was clear to me: I wanted it to be a concept album. Not just a few loosely-related things—everything had to tie together under the theme of mental health. This started with the sound production, the cadence of the songs, etc., but it did not end there—in regard to the visual aspects of the concepts, everything had to tie together, as well.<br>
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We spent countless hours online searching for the right picture or drawing to use as a cover and as a palette for the rest of the album, since we knew this would, eventually, be pressed into vinyl and we wanted to offer our fans something nice. We found a handful of paintings online that we could license out, but in the end, it just felt like taking the easy way out. Then, our guitarist, Daniel [Austin], asked me "if I was familiar with kintsugi." It was a word I did not immediately recognize, even though my wife had recently talked to me about it, so I told him "no."<br>
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Daniel, then, explained kintsugi is the Japanese art of mending broken pottery with gold or silver powder mixed into the binding agent, so as to highlight the cracks, rather than hide them. Thereby, this suggests that just because the item has been broken before, it hasn't lost its usefulness. In fact, it shows resilience and history. Kintsugi, therefore, can, also, be applied as a life philosophy, where much like pottery, people are encouraged to embrace their imperfections and see them as badges of honor and survival, rather than "a bad reminder of a terrible event or time." This became a central concept that wove itself into the whole album.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiigD9QUw6jSsKergfblJjCDijFecoUHv2oGhIUaYZyY2pzIKJ0d9G-zs0nZEXuVpYX7-FwpxQrSdf6s8-CH7BiIUTixttU1V4sX44K7MVqbgwk2PA6HdSShaO3qc6sYf6-itt9rQsb40KU62sN17tFDVslMzLInaHWyJZXP-aC2nUCZN-iuJB7rvv4pVfY/s1900/Will%20to%20Live%20Vinyl%20LP1-2%20Edit%20%28CREDIT,%20Clayton%20Chrietzberg%20@dinealone83%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiigD9QUw6jSsKergfblJjCDijFecoUHv2oGhIUaYZyY2pzIKJ0d9G-zs0nZEXuVpYX7-FwpxQrSdf6s8-CH7BiIUTixttU1V4sX44K7MVqbgwk2PA6HdSShaO3qc6sYf6-itt9rQsb40KU62sN17tFDVslMzLInaHWyJZXP-aC2nUCZN-iuJB7rvv4pVfY/s620/Will%20to%20Live%20Vinyl%20LP1-2%20Edit%20%28CREDIT,%20Clayton%20Chrietzberg%20@dinealone83%29.jpg"/></a></div></center><b><i><small><font color="blue">Will to Live's The Therapy Sessions vinyl variants (CREDIT: Clayton Chrietzberg, @dinealone83)</b></i></small></font><br />
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Then, Daniel & I began to explore what the best way to represent this concept would be. Once again, we turned to online searches for ideas and we discussed having professionally taken pictures of models and, then, digitally adding textures and the characteristic kintsugi repair lines on their bodies, but by that time, we realized we had been putting off the inevitable, which was commissioning our vision to an artist—with oil painting being the medium of choice.<br>
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I thought of a couple of artists, including my old teacher, renowned Salvadoran painter Don Roberto Huezo, who was kind enough to offer licensing [for] whichever painting we selected. In the end, Daniel pointed me to an artist he knew named P.J. Svejda. I was a bit hesitant at first because she's amazing at capturing people's emotions with great realism and given the subject matter, I wanted a realistic torso to be the center, but I wanted it to be a genderless form that anyone can relate to devoid of the facial features P.J. is so great at capturing. In addition, I wanted a cold and grim palette and I was concerned about the material I had seen on P.J.'s <a href="https://www.instagram.com/pjsvejda/?hl=en">Instagram</a> page because she used such a wide color palette. I wasn't sure how she would feel about working on a painting with such a limited scope.<br>
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Very minimal drafts were required and we loved what she was interpreting right away. However, I must say, I was blown away with the first images of the final product. The way the kintsugi repairs were placed by P.J. were precise to the way I had envisioned. The shade of blue she selected with the halo bringing light into darkness gave me goosebumps. All the while, each brush stroke provided texture and made the painting that much real and down-to-earth.<br>
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With the artwork defined, we had enough to be able to have our album cover and enough to take parts of the painting to incorporate into the layout of the jacket and sleeve. These turned out impressive and stand out when you’re holding the album in your hands. We were even able to incorporate these texture elements from the original artwork into the lyric video we made for our second single, <a href="https://newnoisemagazine.com/premieres/track-premiere-will-to-live-cold-embrace/">"Cold Embrace."</a><br>
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As far as the vinyl is concerned, we wanted to make sure not only the jacket and the sleeve looked great, but we, also, wanted to make sure every bit of the album was something special and visually captivating. This said, Daniel & I had some ideas regarding vinyl color, but [our imaginations] did not run wild until we spoke with Shawn [Hopman] from our label, <a href="https://www.anothercityrecords.com/">Another City Records</a>. Shawn shared with us some of his ideas based on the capabilities of his suppliers he had been using for his other releases. This is how we ended up working with the folks at Smashed Plastic [Record Pressing] in Chicago for three small runs of white, black, and translucent gold vinyl.<br>
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With that settled, the question became, "well, with the album clocking in at 15 minutes [and] 16 seconds, do we repeat the program on Side B? Do we leave it blank?" Then, Shawn shared a couple of ideas he had used with his other releases. For instance, for the white vinyl, he works with Music Graphics Chicago, who can laser print images in color and in high-resolution onto vinyl. The result is STUNNING. The resolution of the laser print is so detailed that it picked up every brush stroke from the original painting so much that Side B of the vinyl looks textured!<br>
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Still thinking it was a blessing in disguise, it turns out the laser printing in high-resolution can only be done on white vinyl and, then, Shawn shared that for some of his other releases, he's used Anchorfish Printing [& Embroidery] out of Evanston near Chicago to screen-print a design on Side B of the vinyl. After seeing some samples of finished product, the work done for our labelmates, <a href="https://www.discogs.com/master/3115749-Ill-Communication-Doomsday-Brigade">ILL COMMUNICATION</a>, we said, "let's do it!" We opted to use our logo we had previously used for circle-shaped stickers with the name of the album, The Therapy Sessions, encircling it. Once that was settled, all we had to do was make sure we used complimentary colors to the artwork palette, as well as the vinyl color. We ended up using navy blue for the translucent gold vinyl, and an off-white for the black vinyl.<br>
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It only took Will to Live 26 years from the band's inception to produce a vinyl release. Given how long it took, we made sure to leave no stone unturned in the writing and production of The Therapy Sessions—from the recording (its tones and frequencies,) to the lyrics (the specific diction,) to the artwork (its tones and colors,) and to the vinyl itself. In the end, we believe we produced a quality record full of depth and articulated vision on all fronts.<br>
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The Therapy sessions is out and you can order it from Another City Records at <a href="https://www.anothercityrecords.com/product/will-to-live-the-therapy-sessions/">Another City Records</a>. To listen to our album, watch our latest video, pick up merch, or get in touch, visit us at <a href="https://linktr.ee/willtolive">Will to Live</a>.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIcCAQM_g19iIeMMo-ZfKhtmaQnipphCo5UazsA2lv0lCOwdWYUIRhJBe1a18ydAv8YikU3SdZ31CjEeLgdzoANgY-Dhpf7ZcoYF54Xns2YqIlaH1hzxq5nIbhjxOxo0a-_fXMxtbQR3oDxjPLZ0xwljKRrvRFMgkxtDbRTmsHylLPyd9oXl-eJy31PqIv/s1900/Will%20to%20Live%20Vinyl%20LP3-4%20Edit%20%28CREDIT,%20Clayton%20Chrietzberg%20@dinealone83%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIcCAQM_g19iIeMMo-ZfKhtmaQnipphCo5UazsA2lv0lCOwdWYUIRhJBe1a18ydAv8YikU3SdZ31CjEeLgdzoANgY-Dhpf7ZcoYF54Xns2YqIlaH1hzxq5nIbhjxOxo0a-_fXMxtbQR3oDxjPLZ0xwljKRrvRFMgkxtDbRTmsHylLPyd9oXl-eJy31PqIv/s620/Will%20to%20Live%20Vinyl%20LP3-4%20Edit%20%28CREDIT,%20Clayton%20Chrietzberg%20@dinealone83%29.jpg"/></a></div></center><b><i><small><font color="blue">Will to Live's The Therapy Sessions vinyl variants (CREDIT: Clayton Chrietzberg, @dinealone83)</b></i></small></font><br />
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-77649122690021494312023-08-03T08:02:00.003-07:002023-08-03T13:46:22.360-07:00How Blue The Ocean Is - AMORA's Martyr: A Recital of Self-Destruction Five Years Later with Frontman Billy Zee (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOA20nMCWlcxuJ39ZQvHoiccxkj2kFbxl_r8xmjQV6Y07Zfp5nlVb23nMxLHT6TNXGV4wXg2H4if0Ljl3poYmU0wVxjRVtI6Q9zylCyrfGH3eilOSOVy26IXjPE4Yg6z_Vb5f45msxtVjkM33vbduPjX43C1btI8059NBNEvaoYjQ1qXfSWQ7RooMMvKF/s1900/Photo%20Jul%2031%202023,%207%2010%2053%20PM%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOA20nMCWlcxuJ39ZQvHoiccxkj2kFbxl_r8xmjQV6Y07Zfp5nlVb23nMxLHT6TNXGV4wXg2H4if0Ljl3poYmU0wVxjRVtI6Q9zylCyrfGH3eilOSOVy26IXjPE4Yg6z_Vb5f45msxtVjkM33vbduPjX43C1btI8059NBNEvaoYjQ1qXfSWQ7RooMMvKF/s620/Photo%20Jul%2031%202023,%207%2010%2053%20PM%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="green">AMORA live at Bonk's Bar - July 31, 2023 (CREDIT: Nicky Fechtmuller)</b></i></small></font><br />
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AMORA is made up of five of the sweetest, most gracious guys I've ever encountered in this industry—Billy Zee, Chris Swanson, Tristan Wikler, Bryan Rodriguez, and Nick Magidson—who, just so happen to be actively making some of the most brutal, punishing Punk/Emo/Post-hardcore (or "Lansdale Sad Punk," as they describe it) out there right now. Having shared bills in recent months with everyone from America's Got Talent contestants <a href="https://www.liliacband.com/copy-of-biography-1">LILIAC</a> to fellow Philly Punk hyphenate (insert sub-genres) phenoms <a href="https://www.facebook.com/kaonashipa">Kaonashi</a> & Being As An Ocean, I met Billy & Chris in November 2022 after a chance encounter at a The Color Fred show at Philly venue Underground Arts.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=223337953/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2302938444/transparent=true/" seamless><a href="https://am0rapa.bandcamp.com/album/martyr-a-recital-of-self-destruction">Martyr: A Recital of Self-Destruction by AM0RA</a></iframe></center>
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What turned into an impromptu label showcase for Fred Mascherino's (ex-Taking Back Sunday, Say Anything, The Lemonheads) Heading East Records that featured Oceans In The Sky's Liam Frost, AMORA, of course, <a href="https://www.discogs.com/master/2001349-Terrible-Things-Terrible-Things">Terrible Things</a>—Coheed & Cambria's Josh Eppard, Hot Rod Circuit's Andy Jackson, Brian Weaver, who played on Paramore's RIOT!, and Fred Mascherino—a solo acoustic set from Jackson, and Fred doing double-duty with headliner The Color Fred playing <a href="https://www.discogs.com/master/339907-The-Color-Fred-Bend-To-Break">Bend to Break</a> in full in honor of its 15th anniversary. I met Billy & Chris in-between the night's band's sets; Billy sold me a <a href="https://am0rapa.bandcamp.com/album/cutting-teeth">Cutting Teeth</a> EP cassette tape, which had just been hand-dubbed earlier the same day, and Chris & I bonded over our My Chemical Romance T-shirts that we both bought at the same concert the previous summer.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=223337953/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3361388866/transparent=true/" seamless><a href="https://am0rapa.bandcamp.com/album/martyr-a-recital-of-self-destruction">Martyr: A Recital of Self-Destruction by AM0RA</a></iframe></center>
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We traded Instagram handles and kept in touch over the coming months. We even got together in December 2022 for an AMORA year-end wrap-up style <a href="https://thewitzard.blogspot.com/2022/12/am0ras-nick-magidson-bryan-rodriguez.html">feature</a> right here at The Witzard chronicling Nick, Bryan, Chris, Tristan, and Billy's favorite albums and singles of '22. I've been chatting with Billy, Chris, and the rest of the guys from AMORA ever since, brainstorming potential ideas for coverage and just shooting the sh*t. I worked with Chris and his other band, <a href="https://thewitzard.blogspot.com/2023/05/all-around-breakdown-stud-wisers.html">STUD WISER</a>, on a companion track-by-track breakdown feature for their self-titled debut EP this past May, too. So, when I saw back in June that AMORA would be playing a special Five Years of Martyr anniversary show at Panico's Neighborhood Grill & Sports Tavern in Lansdale, PA on August 5, 2023 (this Saturday night!,) I immediately messaged Billy and the boys to concoct something.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=223337953/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2956212595/transparent=true/" seamless><a href="https://am0rapa.bandcamp.com/album/martyr-a-recital-of-self-destruction">Martyr: A Recital of Self-Destruction by AM0RA</a></iframe></center>
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This weekend's show will, of course, be commemorating the fifth anniversary of AMORA's self-released 2018 full-length debut, Martyr: A Recital of Self-Destruction, AKA simply Martyr. Billy & I have been texting, chatting, messaging, emailing, and talking on the phone ever since we decided to do a comprehensive interview feature about Martyr, AMORA then/now, the anniversary show at Panico's, what's next for AMORA, and much, much more. Check out our interview below, which has been lightly edited for general clarity. AMORA's <a href="https://www.facebook.com/events/640122997991178">Five Years of Martyr</a> show with special guests MERIT, WESTMAN, and Vanish Cap at Panico's Neighborhood Grill & Sports Tavern in Lansdale, PA with doors to open at 8:00pm and the show starting at 8:30. Just keep an eye on AMORA’s assorted social media pages for additional updates.<br>
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<b>I. Alright, so can you set the stage for us a bit: as a band, where was AMORA at on their career trajectory in 2018?</b><br>
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<font color="red"><b>Billy Zee:</b></font> Honestly, we were mainly just figuring ourselves out. We put our first two EP's, In Lieu Of/Wrong from Right, out in 2015-16 and just grinded on those. We were starting to do our first tours and started playing the new music on Martyr[: A Recital of Self-Destruction] at shows. We attempted to record the record ourselves as a four-piece and may [have] recorded around half the record until we realized we could really benefit from someone else coming in and guiding the way. This was, also, around the time [when] Chris Swanson (guitar and vocals) came into the picture and helped take things to a new level.<br>
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<b>II. Without getting too explicit or specific, what were some of events and emotions that helped inspire the lyrical content heard across Martyr: A Recital of Self-Destruction?</b><br>
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<font color="red"><b>Zee:</b></font> I call it a coming-of-age record. Some of the songs were [written], lyrically, a lot longer before they [became] actual songs. The record is mainly about growing up. The songs were the outlet of many situations, such as break-ups and relationships, drug addictions, family problems, personal problems, [and] watching your role models "die" in front of you—and not "die" as in death, but as in who you thought they were. These songs, too, were [written] in the time frame of being around 17-21 years old [with] some lyrical content dating back before [then]. The bridge of "Hearthstone" was ripped from another song I wrote when I was in high school and learning about a friend (the same [one] "Hearthstone" is about,) at the time, that attempted to kill his abusive dad and go down a dark path. What’s crazy is that this is only one of those stories and it happened at such a young age; some of this stuff became sadly normal in our lives and we had to unlearn that.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxlKAJ3Ciqa8KqvnMsUUS0x5SpEQaSC0VKhHgHhXc6x9el3bN0BdXaeUPP_6_v1JgL8FyVZkpxnqDrEE1zJ_SKD32Oedxmn1PmmKQk3Q2TrXob2q1YXsIsKuo6cxI9oZ4L4VjjNs_MTw-FBrj2bvOxDlXOPPKFooi02H36CQraFhWmLD33txyH4UxpqU0A/s1900/AMORA%20-%20Martyr_%20A%20Recital%20of%20Self%E2%80%8B-%E2%80%8BDestruction%20%28Bandcamp%29%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxlKAJ3Ciqa8KqvnMsUUS0x5SpEQaSC0VKhHgHhXc6x9el3bN0BdXaeUPP_6_v1JgL8FyVZkpxnqDrEE1zJ_SKD32Oedxmn1PmmKQk3Q2TrXob2q1YXsIsKuo6cxI9oZ4L4VjjNs_MTw-FBrj2bvOxDlXOPPKFooi02H36CQraFhWmLD33txyH4UxpqU0A/s620/AMORA%20-%20Martyr_%20A%20Recital%20of%20Self%E2%80%8B-%E2%80%8BDestruction%20%28Bandcamp%29%20EDIT.jpg"/></a></div></center><b><i><small><font color="green">AMORA's Martyr: A Recital of Self-Destruction album cover and re-visting the infamous "rock" - June 9, 2023 (CREDIT: Katya Ivanovski / Billy Zee)</b></i></small></font><br />
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<b>III. What can you tell us about "the rock" in Green Lake Park, Pennsylvania where the band, a model, and Katya Ivanovski shot the original Martyr: A Recital of Self-Destruction cover image?</b><br>
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<font color="red"><b>Zee:</b></font> One time, I had such an idea of the cover that I practically forced it on the band to say "yes." Looking back, I shouldn't have done that, but I was so set on it and at the end of the day, they backed it. Back in 2017, I was going through a break-up and a really rough time and a friend took me to Green Lane Park and we just walked and talked about everything and anything. I remember it being such a beautiful park and it holds so many memories for me.<br>
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How we settled on the ("rock") location is a bit fuzzy. I barely even remember why "the rock" came into [play,] but I wanted to illustrate this form of "exhaustion," if you will—that feeling of feeling like you are dead, but you're still alive. To me, that was what the record felt like. Being so close to death, but still being alive. Fun Fact: there were a bunch of kids hanging on "the rock" and I paid them $20 to go find another [one,] so we could do the shoot lol.<br>
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<b>IV. We saw that you recently visited "the rock" at Green Lake Park and took some "five years after" photos for the Five Years of Martyr show flyer. How did it feel being back there again? And how has the area changed since that bloody 2018 photo shoot?</b><br>
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<font color="red"><b>Zee:</b></font> It was wild. It's so easy for anniversaries to Copy and Paste old resources and call it a day, but I wanted to switch it up. After being given the assignment of doing the poster, I woke up the next day to the smoke from the wildfires at its peak. I, then, had this crazy and dumb idea to go out into it and shoot the photos. To a normal person, this is a stupid idea; to an artist, this is an opportunity that will never come again lol. The tree next to "the rock" fell, which made "the rock" a little tough to find and I, actually, had to FaceTime Tristan Wikler (guitar and vocals) to confirm it. The smoke gave [it] this gloomy "apocalyptic aftershock" feeling, if you will. Between the tree and the smoke, it gave this "return to where it all began with a new perspective" feeling to it.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHYwXW_dUxX6YlBiFEsXeTuxSRVEIj8chvRuOSCvIKott-iRGZEgDg0gCP05hzGHHVXfQXjrhgyMaBZYYVpjBG8S_RoKe82lxUlAJLlQv-bhpBZkshCKAaXuF01dmigLRXeCNiMz07g-GrubmPeade-wlrPfmuV2qHOsvgbdgipPnJ03uS3_q7ryV-WQOp/s1900/IMG_0432.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHYwXW_dUxX6YlBiFEsXeTuxSRVEIj8chvRuOSCvIKott-iRGZEgDg0gCP05hzGHHVXfQXjrhgyMaBZYYVpjBG8S_RoKe82lxUlAJLlQv-bhpBZkshCKAaXuF01dmigLRXeCNiMz07g-GrubmPeade-wlrPfmuV2qHOsvgbdgipPnJ03uS3_q7ryV-WQOp/s620/IMG_0432.jpg"/></a></div></center><b><i><small><font color="green">AMORA's Martyr: A Recital of Self-Destruction Record Release Show - July 2018 at Lansdale American Legion (CREDIT: Katya Ivanovski)</b></i></small></font><br />
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<b>V. In addition to and/or aside from yourselves (Billy, Tristan, Chris, Nick & Bryan,) who else was pivotal to the making-of and creation of AMORA's Martyr: A Recital of Self-Destruction?</b><br>
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<font color="red"><b>Zee:</b></font> James Hohenwarter for producing the record. Aaron Vasco for hopping on <a href="https://am0rapa.bandcamp.com/track/11-19-feat-aaron-vasco">"11:19."</a> Jorge Sotomayor, who is the singer of my favorite band, Adaliah; having him on <a href="https://am0rapa.bandcamp.com/track/hearthstone-feat-jorge-sotomayor-of-adaliah">"Hearthstone"</a> was a wild dream come true. For the album art: Katya Ivanovski for photos, Sean Farrell for modeling, and Leah Sapp for make-up/blood patrol.<br>
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<b>VI. What is or was the significance or intended meaning behind the album's title, Martyr: A Recital of Self-Destruction?</b><br>
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<font color="red"><b>Zee:</b></font> Martyr, the word, is someone who dies for what they believe in. In a way, it translates to the record as, like "I will do this, even if it kills me"—whether that's music or going through the hardships life throws at you. "Martyr" did feel a little lonely on its own and we made the idea to add "A Recital of Self-Destruction" to emphasize on the feeling and meaning of the lyrical content and coldness of the record.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=223337953/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4052972764/transparent=true/" seamless><a href="https://am0rapa.bandcamp.com/album/martyr-a-recital-of-self-destruction">Martyr: A Recital of Self-Destruction by AM0RA</a></iframe></center>
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<b>VII. What is the significance and/or role of Panico's Neighborhood Grill & Sports Tavern in Lansdale, Pennsylvania within the "origin story," if you will, of AMORA?</b><br>
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<font color="red"><b>Zee:</b></font> I still remember when the album came out at midnight and we celebrated the record there with close friends, at the time. We were all fresh 21-22 [year olds] experiencing that lifestyle for the first time. Great times happened there [and] bad times happened there. It's kind of like the coffee shop [Central Perk] in Friends.<br>
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<b>VIII. How would you say AMORA's overall sound, approach, musical outlook, style, etc. has changed and evolved in the five years since Martyr: A Recital of Self-Destruction?</b><br>
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<font color="red"><b>Zee:</b></font> For starters, taking things more seriously. Caring about your work, your production, your representation... caring about the details, but, also, not sweating the small stuff. Trying new instruments, avenues, and being open to criticism. [Surrounding] yourself with the right people to pull the best out of you, too. I was mulling over this today and figured it would work well for this answer: when you are younger and this whole "band life" is showing itself to you, it looks like never-ending touring/hustling because that's what your favorite bands did.<br>
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All you wanna do is be your favorite bands and follow in their footsteps, when in reality, a lot of that "never-ending hustle" leads to problems of many sorts and burnout. With the experiences we have all had in the music world since, it's shown that it's important to have balance, to be selective about shows/tours, not settle for less than what you deserve, planning ahead, [and] being hungry for more, but, also, being patient and cherishing what you have.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dgg84WqHTp4aFUNloi_mAw5_0imP36-fb4h13dewixIzVudHWS9f1UENtNiszLh2I51bVJ6F1f3FvoZcn1EjROUiMlhRoA9y9hVyid7xy6jB6hucER4UNpSKAx5phVG6nAIyyrW6i0akcjJhuf46tLkTE-BoMxM7En76V3iEsSaMXxD2vB08F06jcL3s/s1900/IMG_0200.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dgg84WqHTp4aFUNloi_mAw5_0imP36-fb4h13dewixIzVudHWS9f1UENtNiszLh2I51bVJ6F1f3FvoZcn1EjROUiMlhRoA9y9hVyid7xy6jB6hucER4UNpSKAx5phVG6nAIyyrW6i0akcjJhuf46tLkTE-BoMxM7En76V3iEsSaMXxD2vB08F06jcL3s/s620/IMG_0200.jpg"/></a></div></center><b><i><small><font color="green">AMORA's Martyr: A Recital of Self-Destruction Record Release Show - July 2018 at Lansdale American Legion (CREDIT: Katya Ivanovski)</b></i></small></font><br />
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<b>IX. Do you guys have any immediate plans to re-visit, re-record, and re-imagine or at least include some songs from Martyr: A Recital of Self-Destruction within your live setlists moving forward?</b><br>
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<font color="red"><b>Zee:</b></font> We bounce this idea around of doing an EP of re-makes from the In Lieu Of/Martyr[: A Recital of Self-Destruction] days and donating the proceeds to a charity or something. We have been more focused on this new chapter of us and how to grow the band more, though, that it isn’t there yet. We have, honestly, put a lot of songs from Martyr[: A Recital of Self-Destruction] to rest from the live sets, but always try to include 1-2 depending on time. After this show, I really don't know what's next for that record, as we have [the] Cutting Teeth [EP] (2022) and starting to write whatever will come next.<br>
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<b>X. What does AMORA have planned to help celebrate the fifth anniversary of Martyr: A Recital of Self-Destruction?</b><br>
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<font color="red"><b>Zee:</b></font> Obviously, the anniversary show and, maybe, some new merch (wink-wink.) All these ideas were made within the last couple months, so it's hard to really put in so much in such a short amount of time, but this could be a cool trial run that opens some ideas for future anniversaries down the line.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/QSqMG6YgvoM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>XI. So, since AMORA is about to celebrate and acknowledge the fifth anniversary of Martyr: A Recital of Self-Destruction, do you have intentions to orchestrate something similar for the upcoming eighth anniversaries of In Lieu Of and/or Wrong from Right/Colors & Lights EP's in May 2024?</b><br>
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<font color="red"><b>Zee:</b></font> Maybe, not the eighth anniversary, but, maybe, for the 10-year of In Lieu Of—that would be a really cool thing to do. I still remember we did a one-year anniversary show in 2016 and headlined with a lot of our friends, at the time, in Pottstown. The show had an insane turn-out and we debuted a lot of the Martyr[: A Recital of Self-Destruction] stuff there. Sometimes, for hometown shows, we sneak those songs into setlists and it feels really good to play those songs with the equipment and knowledge we have now. Not to mention, the positive reception we get when we do play <a href="https://am0rapa.bandcamp.com/track/mackenzie">"Mackenzie"</a> or even when we play <a href="https://am0rapa.bandcamp.com/track/hollow-bastion">"Hollow Bastion"</a> and there are, like, five extra people doing the breakdown and [bassist] Nick [Magidson] & I swap mic and bass.<br>
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It is so easy to have fun with those songs. That being said, I personally would love to do it—like, the re-make EP idea I mentioned earlier. Those songs would have such a cool justice done recorded and produced with the knowledge and resources we have now. For Wrong from Right, the only way it would feel good and complete would be if Above The Mendoza got back together to do their side of the split and perform <a href="https://am0rapa.bandcamp.com/track/goodbye">"Goodbye"</a> with us. Maybe, that [would/could] be a cool encore/set ending for the In Lieu Of anniversary [show(?)]. Yes, this is a call-out, Pete Long.<br>
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<b>XII. What's planned next for AMORA?</b><br>
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<font color="red"><b>Zee:</b></font> We're currently planning some shows and tours with some friends. We're writing and going to the studio soon. Starting to confirm/talk about some cool opportunities for 2024. While we do have [Fred Mascherino's] Heading East Records behind us, we’re still pretty D.I.Y. Being D.I.Y. is awesome—don't get me wrong. We want to start building a team and focusing on how to get to the next level we have been wanting to get to as a band.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1TXxzWkv2Lvq1H7ro7kZMRj7mf3YY9yU_L4aTUTQGkjWOebL6m06uRC5TYUWdecvq9wpg0hrBp6Jd6QsR-6x6xS-WUx6dPceYjqjag_ou2O1691OtToU90OGSUumJiCjVA9MsYMs2F7jvsbDxkjHUElI1k3ncK-2pRMI3qOJsa42nxc7PlxdUBWmkwcba/s1900/AMORA%20Five%20Years%20of%20Martyr%20%28Flyer%202%29%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1TXxzWkv2Lvq1H7ro7kZMRj7mf3YY9yU_L4aTUTQGkjWOebL6m06uRC5TYUWdecvq9wpg0hrBp6Jd6QsR-6x6xS-WUx6dPceYjqjag_ou2O1691OtToU90OGSUumJiCjVA9MsYMs2F7jvsbDxkjHUElI1k3ncK-2pRMI3qOJsa42nxc7PlxdUBWmkwcba/s620/AMORA%20Five%20Years%20of%20Martyr%20%28Flyer%202%29%20EDIT.jpg"/></a></div></center><b><i><small><font color="green">AMORA's Five Years of Martyr show flyer and live at Bonk's Bar - July 31, 2023 (CREDIT: Billy Zee / Nicky Fechtmuller)</b></i></small></font><br />
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-86195205582425493662023-07-28T09:50:00.011-07:002023-07-29T11:39:29.185-07:00SUNSTROKE's Brandon Wallace & Christian Debuque Discuss New Single "Frank," Covering The Cranberries, DRAMARAMA & Memorial Day, Recording with Don Zientara, and Bent Blue Split (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlGxZm5sl7pW4cdxLsyDah0j1yIGDY0ngYxWhGslJoEjjS2k69MKvQzvQs3f7I7bn-2OKzghLSjRcugLDZoKBwoibbFopkOKIQVJ73b5CwVJHB1a-ZCBQn-QrPZww-IV1WDUT-u--DS-pwSTAsyKrQ_nCr_nCEq9yHlxmMNcohPEY9Pn0S_0_PFrGtB84/s1900/unnamed%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlGxZm5sl7pW4cdxLsyDah0j1yIGDY0ngYxWhGslJoEjjS2k69MKvQzvQs3f7I7bn-2OKzghLSjRcugLDZoKBwoibbFopkOKIQVJ73b5CwVJHB1a-ZCBQn-QrPZww-IV1WDUT-u--DS-pwSTAsyKrQ_nCr_nCEq9yHlxmMNcohPEY9Pn0S_0_PFrGtB84/s620/unnamed%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="red">SUNSTROKE's Brandon Wallace and Christian Debuque after band practice (photographer unknown)</b></i></small></font><br />
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SUNSTROKE appear to have this uncanny ability to be able to pull parts and pieces from their (and, in turn, your) favorite bands/artists, sub-genres, eras, labels, etc., throw them all into a sonic slicing and dicing belender and to paraphrase Madonna, "make them feel shiny and new..." <a href="https://www.instagram.com/sunstroke_rs/?hl=en">SUNSTROKE</a> readily draw influence from Dag Nasty, Embrace, Fugazi, Hüsker Dü, Rain, The Replacements, Rites of Spring, and Revolution Summer-era Dischord Records. They've been through, like most Punk/Hardcore bands, their fair share of members, but have seemed to have landed on a semi-permanent line-up, and have released a gaggle of albums, EP's, splits, and one-off singles on a variety of labels, such as Axe to Grind, Coin Toss Records, New Morality Zine, and WAR Records, since initially forming around 2017.<br>
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Oddly enough, SUNSTROKE recorded two of their latest songs, "Frank" and a cover of Memorial Day's <a href="https://www.youtube.com/watch?v=PN5VHomldu4">"Ceiling,"</a> as well as two more previously released singles, at Inner Ear Recording Studios with Don Zientara, who recorded, produced, mixed, and mastered many of the recordings (and many more) mentioned above. SUNSTROKE frontman, founder, and mastermind Sean Farlow is currently sitting on a sunny beach somewhere in Mexico sippin' on a martini while on vacation with his family, so I sent over a batch of questions to drummer and one-time Memorial Day member Brandon Wallace and rhythm guitarist and illustrator Christian Debuque. SUNSTROKE recently shared their cover of DRAMARAMA's "Anything, Anything (I'll Give You)" dropped a split with <a href="http://newmoralityzine.limitedrun.com/products/744710-sunstroke-bent-blue-split">Bent Blue</a> on New Morality Zine/WAR Records, and their latest single, "Frank" B/W "Ceiling" is out digitally today on Sky Valley Records. So, obviiously, Brandon, Christian & I talked about all of that and much, much more. Check out my (third!) <a href="http://thewitzard.blogspot.com/2022/01/sunstrokes-sean-farlow-talks-2021.html">comprehensive</a> SUNSTROKE <a href="https://idioteq.com/revolution-summer-infused-melodic-hardcore-band-sunstroke-discuss-new-potent-singles/">interview</a> below, which has been lightly edited for general clarity. Thanks again, Brandon & Christian, and shout-out to Sean for helping set all of this calamity up!<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=4280463604/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="https://sunstrokephl.bandcamp.com/track/anything-anything-dramarama">Anything, Anything (Dramarama) by Sunstroke</a></iframe></center>
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<b>I. Who are the current members of SUNSTROKE, what is each member's role within the band, and how long have each of you been in the band?</b><br>
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<b><font color="orange">Brandon Wallace:</font></b> First off, thank you for the interview, Matt. This current incarnation of SUNSTROKE is Sean [Farlow] on vocals and art direction, Ian [Strang] is on guitar along with [GHOST BONGO]. [Matt Myers AKA] T.B. Player (short for The Bass Player) plays bass and is, basically, the reason we get anything done. Mikey [Messenger] is still around and contributes in his own, adorable way. Honestly, Christian [Debuque] & I have been doing it with Sean & Ian for a few years now. I feel like T.B. has always been here, but he joined a little after we did when Mikey had to go Overseas to volunteer to build houses or something.<br>
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<b><font color="purple">Christian Debuque:</font></b> What's up Matt!? I'll clear up that I go by GHOST BONGO [@ghostbongo] on <a href="https://www.instagram.com/ghostbongo/?hl=en">Instagram</a>, so that's why Brandon is referring to me as that lol. Pretty much everyone in the band refers to me by that. I first met Sean when he asked me to design a shirt for the band back in 2020. Around then, I put the offer on the table to play guitar, if the ever needed. And I've played guitar with SUNSTROKE since fall of 2021—so, well over two years now.<br>
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<b>II. What made you decide to cover and re-envision <a href="https://www.youtube.com/watch?v=yFhx6FLxGxQ">"Anything, Anything (I'll Give You)"</a> from DRAMARAMA's Cinéma Vérité, as well as the A Nightmare on Elm Street 4: The Dream Master soundtrack?</b><br>
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<b><font color="orange">Wallace:</font></b> Well, that's, actually an interesting story. We had the songs all picked out for the split and we decided, at the last minute, to record that cover because we had extra time in the studio (shout-out to Len Carmichael at Landmine Studios!) We planned to just keep it around for an emergency. It ended up appearing on a tape comp. on a very short run. After those comps. were all sold out, Sean threw it online and the response has been overwhelmingly positive.<br>
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<b><font color="purple">Debuque:</font></b> They, basically, told me we were covering "Anything, Anything" the day of. Never heard the song before that. Did I mention I'm the youngest in the band?<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1317895580/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3683632056/transparent=true/" seamless><a href="https://sunstrokephl.bandcamp.com/album/split">Split by Sunstroke</a></iframe></center>
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<b>III. How did you go about selecting your original track, "Nineteen," and cover, <a href="https://www.youtube.com/watch?v=KotlCEGNbh8">"Salvation"</a> by The Cranberries as part of your New Morality Zine/WAR Records split with Bent Blue?</b><br>
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<b><font color="orange">Wallace:</font></b> "Nineteen," much like <a href="https://sunstrokephl.bandcamp.com/track/buzzer-beater">"Buzzer Beater"</a> before it, was a lightning strike of inspiration after a few weeks of rehearsing for shows and trying to write something that didn't pan out. We really work best under pressure, it appears. It just kind of fell into place. Let's face it, we're not writing [Queen's] "Bohemian Rhapsody," but I'm pretty stoked on how it came out. We needed a cover for the split. We had a few others in mind, but "Salvation" just seemed fun to play. So, we did.<br>
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<b><font color="purple">Debuque:</font></b> We chose "Nineteen" because it kicks a$$ and we had it down pat at time of the recording. I love the punchiness of the verse. "Salvation" is similar in the amount of a$$ it kicks, so it was an easy decision to include it on the split.<br>
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<b>IV. What can you tell us about the writing, creating, production, recording, etc. processes behind your latest batch of original material and cover renditions?</b><br>
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<b><font color="orange">Wallace:</font></b> As far as the writing process, we write parts of songs at every practice. Even if we are rehearsing the set, someone will, inevitably, write a part or clumsily fall upon something that "sounds like us." When we sit down to just write songs, well, that's the whole reason I play music. Everything goes away and it's just that noise. It's a pretty special moment. Recording, on the other hand, is the bane of my existence. The only part I like is being done and eating burritos. That said, recording the split and "Anything, [Anything]" with Len was a pleasure. He made it very easy and I think it came out fantastic. Next to his studio is the worst pizza place I've ever been to, so there is that.<br>
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<b><font color="purple">Debuque:</font></b> We have parameters that we write within and know what "sounds like us" and, sometimes, search for new ways to write on the far reaches of those parameters to create something that sounds fresh. As for recording, it's pleasant for me being a rhythm guitarist. There's less pressure than playing a complicated lead over and over, so it's easy on me.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP7WdI3a1BuYQeKILFeMd1rqx04BrfRIOKmFGH03gd9Q1fAlsP2J7WgjwFWdzkwmK60syTS21gHxnaDjprELatXPA_uKDAEn5Jjxk3ZsfCrvfOadl5d8WKnVu3LPsFNlCXanWEakZxPhEWO7C1EvMG2537BOCf3WEczN6ZMn9PPGlQVI4dSGCfEU6XPkM/s1900/SUNSTROKE%20with%20Don%20Zientara%20%28IDIOTEQ%29_EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP7WdI3a1BuYQeKILFeMd1rqx04BrfRIOKmFGH03gd9Q1fAlsP2J7WgjwFWdzkwmK60syTS21gHxnaDjprELatXPA_uKDAEn5Jjxk3ZsfCrvfOadl5d8WKnVu3LPsFNlCXanWEakZxPhEWO7C1EvMG2537BOCf3WEczN6ZMn9PPGlQVI4dSGCfEU6XPkM/s620/SUNSTROKE%20with%20Don%20Zientara%20%28IDIOTEQ%29_EDIT.jpg"/></a></div></center><b><i><small><font color="red">SUNSTROKE's pictured with Don Zientara at Inner Ear Recording Studios (photographer unknown)</b></i></small></font><br />
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<b>V. How involved does the band typically get in the creative aspects of or relating to your various releases (ie: photography, cover artwork, packaging, vinyl color selection, exclusive variants, etc.)?</b><br>
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<b><font color="orange">Wallace:</font></b> The layouts and "art direction" are usually handled by Sean. He may send over an idea or thought, but, with him, he has a total vision for everything from the start. I really love and have loved all the visuals for the band (even before I joined) so, I trust him to continue doing a good job. All that said, of late, Christian has done a bunch of T-shirts and images and it's all been so rad. I really appreciate being surrounded by such creative people.<br>
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<b><font color="purple">Debuque:</font></b> Like I said, I met Sean through my artwork, so my relationship with SUNSTROKE began on a creative level and that still rings true now. Sean, generally, shoots ideas over to me that he thinks I can execute and, sometimes, I shoot over ideas I want to draw over to him. We usually agree on ideas because we have similar tastes.<br>
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<b>VI. If "yes," "greatly," etc. to the previous question, how and/or what do you think this generally adds to your music as a complete and totally immersive package?</b><br>
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<b><font color="orange">Wallace:</font></b> It definitely creates a uniform feel from the band and its releases. Trying to have images that are personal and unique to every release and having fewer images of a singer holding out the microphone or the bass player jumping, to me, adds a lot to what we are trying to accomplish. Not that those things are bad, I grew up staring at the [Gorilla Biscuits'] Start Today cover or [Revelation Records Presents - New York City Hardcore:] The Way It Is cover marveling at the passion caught in it. Those are pieces of art in their own right, it's just not how we chose to display our releases. Like the Embrace [self-titled] record, I still look at that cover and try to interpret it, like I do at any piece in a museum.<br>
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<b><font color="purple">Debuque:</font></b> It helps paint a picture of the band and who we are as people—at least, somewhat, which I think listeners generally appreciate. You want the bands you like to have an appreciation for artists and the work they produce.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1112283428/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=106164310/transparent=true/" seamless><a href="https://sunstrokephl.bandcamp.com/album/frank">"Frank" by Sunstroke</a></iframe></center>
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<b>VII. Who or what would you readily cite as some of your greatest sources of personal inspiration and influence while creating this latest batch of SUNSTROKE releases?</b><br>
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<b><font color="orange">Wallace:</font></b> Anymore, it's about just getting in a room with some of my best friends and talking sh*t and playing music. It feels very similar to when I first started doing bands. Somewhere along the way, with tour schedules and release dates, you lose that passion of simplicity. It's simple. There is nothing complex or hard about it. It's funny, one of the first times I was in an actual recording studio, Gavin Van Vlack (Burn/Die 116/etc.) was producing the record. I was nervous and frustrated and things started to go downhill fast. He pulled me aside and said, "write and play the songs you want to hear and the rest will take care of itself." That's not an exact quote, I'm sure it had more curse words and insults in it, but that always stuck with me. That pretty much sums up my experience, so far, with this band.<br>
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<b><font color="purple">Debuque:</font></b> I just wanna rock. I want to play as hard as I play live and I want that energy to be captured. Brandon is great partner to rock with. He plays like he means it and stays in time, so it’s easy for me to lock in and nail it in as few takes as possible. So, being around other skilled & talented musicians is what inspires me most.<br>
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<b>VIII. Ultimate dream split(s) accompaniments? Other songs you wanna/plan to cover? Why for each? And... go!</b><br>
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<b><font color="orange">Wallace:</font></b> I'd love to do a split with either <a href="https://revhq.com/products/praise-all-in-a-dream">Praise</a> or <a href="https://crossedkeys.bandcamp.com/album/believes-in-you-2">Crossed Keys</a>. Members of both of those bands have affected my life in so many ways that to share a record with either would be humbling. I'd, also, like to do a split with someone way outside the box, like a rapper or a Folk singer... someone that wouldn't normally appear on such a release. Cover songs... so many... either <a href="https://www.youtube.com/watch?v=0ie4x8hWYYE">"Stutter"</a> by Elastica or anything off of Lifetime's <a href="https://www.discogs.com/master/347268-Lifetime-Background">Background</a> record. Just because.<br>
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<b><font color="purple">Debuque:</font></b> I think <a href="https://mil-spec.bandcamp.com/">Mil-Spec</a> would be my choice. Love everything they're doing and it would be a very complimentary pairing. We're always pitching covers in the band Group Chat, but, lately, I've been drawn to the idea of covering The Replacements or Swervedriver. Both would be challenging, but I think it's something we could pull it off well.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1317895580/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1988421142/transparent=true/" seamless><a href="https://sunstrokephl.bandcamp.com/album/split">Split by Sunstroke</a></iframe></center>
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<b>IX. How would you say SUNSTROKE's overall sound, style, musical approach, etc. has grown, changed, progressed, and evolved since your earliest release, 2017's SEVEN?</b><br>
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<b><font color="orange">Wallace:</font></b> As a fan first, I think the first batch of releases definitely showed them trying to figure out where they were going with all of this. When they hit the <a href="https://sunstrokephl.bandcamp.com/track/i-wanna-be-ignored-2">"I Wanna Be Ignored"</a> / <a href="https://sunstrokephl.bandcamp.com/track/cryin-wolves">"Cryin' Wolves"</a> stage, I think they nailed where they wanted to go and now we are continuing from there. I think the addition of [GHOST BONGO] has added a new feel. He's an amazing guitar player and an even better dude.<br>
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<b><font color="purple">Debuque:</font></b> The band has had a rotating cast of members since then, so we're like an entirely different band now. We all have unique tastes and perspectives, so the band is growing in every direction.<br>
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<b>X. Do you have any immediate plans to record and release a proper full-length follow-up to 2018's Second Floor / SEVEN?</b><br>
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<b><font color="orange">Wallace:</font></b> We are currently b*lls-deep in writing a full-length. I'm really excited for people to hear these new songs...<br>
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<b><font color="purple">Debuque:</font></b> We've been writing a lot lately and it all rocks.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1112283428/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3912862502/transparent=true/" seamless><a href="https://sunstrokephl.bandcamp.com/album/frank">"Frank" by Sunstroke</a></iframe></center>
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<b>XI. What can you tell us about your upcoming single, "Frank?" When, where, how, and in what assorted formats will it become available to the masses?</b><br>
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<b><font color="orange">Wallace:</font></b> OK, well, <a href="https://www.brooklynvegan.com/melodic-hardcore-band-sunstroke-return-with-new-song-frank-memorial-day-cover/">"Frank"</a> is scheduled to be released July 28th through <a href="https://www.facebook.com/skyvalleynj/">Sky Valley Records</a>. There are a few different variables to this release we are waiting to announce, but it's definitely going to be different. The cover art is done by a gentleman named <a href="https://www.instagram.com/chadleddyart/?hl=en">Chad Harley [Leddy]</a>. He sings in a band from New York called <a href="https://rollcalljams.bandcamp.com/">ROLL CALL</a>. Definitely check them out and his art; it's pretty spectacular. We recorded the record with Don Zientera and the new/old Inner Ear [Recording] Studios in Arlington, VA, AKA in Don's basement. It'll be available through all major [distributors] and on all major streaming sites. I'd love to spill the beans on all the things circling this release, but a few particulars have yet to be nailed down. So, we will have to address that at a later date. Fear not, there will be multiple variants, new shirts, and some additional surprises coming in the near future.<br>
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<b><font color="purple">Debuque:</font></b> We recorded "Frank" with the legendary Don Z. in the same basement where Bad Brains recorded Black Dots. I mean, what else is there to say?!<br>
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<b>XII. What's planned next for SUNSTROKE?</b><br>
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<b><font color="orange">Wallace:</font></b> We have a record release show with Gouge Away in August and after that, we are going to hunker down and attempt to finish this LP. So, if all goes as planned, we should start to demo these jawns in August with Vince Spina (Edgewise/Harvcore/Ultramantis Black) in West Chester, PA. So, check back in the fall. Thanks, Matt. Talk soon.<br>
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<b><font color="purple">Debuque:</font></b> Catch us August 4th at The Ukie Club with Gouge Away, Nine of Swords, and Harm Assist. I did the <a href="https://www.instagram.com/p/CuCo9lArw45/?hl=en">flier</a> and I'll Attach it to this email lol.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/W4c4zbQq2Ew" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-64355057915487051842023-07-20T10:10:00.002-07:002023-07-20T11:31:24.418-07:00Magnolia Park Share "Breathing" Featuring nothing,nowhere. & Announce New MoonEater & SoulEater EP's Dropping In August (Epitaph Records) <center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHHmCMovQFpk9db-iTwv-Nr8ynRmi1bNys8s5U8QBep2Ux4S6ppcx8Vn2iko0AdMlKArosDCgY_ePCbJWlCmot-pNizrfhKE0OMOqT7fiikoVfd5joDxI_hGlxXQeC0jOWORAmTP6SAIvGQH-womp--ZOO1OhUySm7IEwHr9haoia3IYh5MLpb0sedH7zo/s1900/Magnolia%20Park%20%28CREDIT,%20Jonathan%20Weiner%29.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHHmCMovQFpk9db-iTwv-Nr8ynRmi1bNys8s5U8QBep2Ux4S6ppcx8Vn2iko0AdMlKArosDCgY_ePCbJWlCmot-pNizrfhKE0OMOqT7fiikoVfd5joDxI_hGlxXQeC0jOWORAmTP6SAIvGQH-womp--ZOO1OhUySm7IEwHr9haoia3IYh5MLpb0sedH7zo/s620/Magnolia%20Park%20%28CREDIT,%20Jonathan%20Weiner%29.jpeg"/></a></div></center><b><i><small><font color="purple">Magnolia Park (CREDIT: Jonathan Weiner)</b></i></small></font><br />
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Deeply rooted in Pop-punk sensibilities while staying true to their unique style, Orlando, Florida band Magnolia Park draw from an eclectic mix of influences to experiment with elements of Hip-Hop, Emo, and Alternative Rock. Just yesterday, they announced plans for two new companion EP's dropping next month—<a href="https://magnoliapark.bandcamp.com/album/souleater">SoulEater</a> & <a href="https://magnoliapark.bandcamp.com/album/mooneater">MoonEater</a>—which, respectively, represent the lighter and darker sides of their multifaceted sound. Ahead of the releases, the band shares the MoonEater lead single and accompanying music video titled "Breathing" featuring Alt. rapper nothing,nowhere. (Dashboard Confessional, Fall Out Boy, Senses Fail.) In an impassioned performance video depicting Magnolia Park singer, Joshua Roberts, free-falling from the heavens, as he pushes his soaring vocals to the edge for a cathartic release of emotions.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/wDE_xvp0zcU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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"Our music is always about creating empowerment out of negative feelings," the band comments. "In the same way, "Breathing" takes that feeling of crushing anxiety and panic attacks and converts it into pure power and energy." Magnolia Park's debut album, <a href="https://magnoliapark.bandcamp.com/album/bakus-revenge-deluxe-edition">Baku's Revenge</a>, (2022) "proved they are much more than just a "<a href="https://www.tiktok.com/@magnoliapark">TikTok</a> band," according to Ones to Watch. With songs as thought-provoking as they are accessible, the members' lived experiences are present in every second of each track. Since the album release, the guys have gone on to share a few stand-alone singles that highlight their penchant for catchy melodies and massive guitar hooks, propelling their streaming count to 1.2 million/month.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2374112103/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3389055384/transparent=true/" seamless><a href="https://magnoliapark.bandcamp.com/album/mooneater">MoonEater by Magnolia Park</a></iframe></center>
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Constantly pushing the limits of experimentation as they develop and refine their craft, the MoonEater & SoulEater EP's are their way of showcasing the duality that exists within themselves. With "Breathing," the band sets the tone for a darker and more ethereal soundscape found on the MoonEater EP. In this project, they lean into Metalcore influences, via crushing breakdowns and washes of highly distorted guitars, also, highlighting Trap production and Alt. Rap influences. The project includes their hit single, <a href="https://www.youtube.com/watch?v=gfF-0ldctS8">"Do or Die,"</a> a self-described "hybrid version of Phonk & Rock" featuring aggressive vocals from rapper Ethan Ross. Another single, <a href="https://www.youtube.com/watch?v=UPT1WxNsewE">"Homicide,"</a> makes an appearance boasting massive Arena Rock sonics.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/7lk2FRpccRM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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For SoulEater, the band wanted to establish a brighter mood with fun, uplifting lyrics and catchy hooks, as they embrace their Pop-leaning influences. Employing textural Alt. Pop production and synth-laden soundscapes, they present a modern update to the classic 2000's Pop-punk bands they grew up on. With playful energy and youthful angst, the music video for "Manic" pays homage to blink-182, re-imagining the trio's energetic riffs and catchy hooks. It's no secret that Epitaph Records has been the breeding ground for some of the most legendary Punk acts in existence and Magnolia Park are poised to carry on in that tradition. The Orlando natives officially formed in 2019, building momentum independently through their creative use of social media and connecting with a core audience of over 700,000 Followers and 45 million views on TikTok.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2374112103/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1854118019/transparent=true/" seamless><a href="https://magnoliapark.bandcamp.com/album/mooneater">MoonEater by Magnolia Park & Ethan Ross</a></iframe></center>
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Consisting of majority Black & Latino musicians, the band is on a mission to spread inclusivity and decrease the probability of racial backlash for other People of Color in the Rock space. Guitarist Tristan Torres shares his hopes that their existence can "prevent the next generation of Rock bands from going through what we've been through." Magnolia Park's core line-up showcases frontman/vocalist Joshua Roberts, guitarists Tristan Torres & Freddie Criales, drummer Joe Horsham, and keyboardist Vincent Ernst. Magnolia Park's MoonEater & SoulEater EP's will both be released Friday, August 18, 2023 on Epitaph Records.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/c_W5lDmzM8Y" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-67775284426404514732023-07-18T08:50:00.006-07:002023-07-19T14:16:58.683-07:00[Almost] All-around Breakdown: 14 Bands/Artists Discuss Their Submissions for New Balladeers, Redefined Screamo Comp. (Secret Voice/deathwish, Inc.)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDEUVkFlp_nhC9xPGpL7X11cDGzB7XmGv6cCLV7SkUuUFhlEJSZQBUWNWM_AyTm0Et3DxbOtLo1Z-tDH0zH3AkOFp5zZE1dSjxj8WySbKUGidmd6-Iw57bUfhvgpxscjfYdw8GLiw_E23lu5ReYK4gXQVMqnY1pOfTnEgXuehu1GGn691e_8huiA4TPBVe/s1900/Jeremy%20Bolm%20IMDb%20%28CREDIT,%20Casey%20Lee%29%20%281%29%20wh.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDEUVkFlp_nhC9xPGpL7X11cDGzB7XmGv6cCLV7SkUuUFhlEJSZQBUWNWM_AyTm0Et3DxbOtLo1Z-tDH0zH3AkOFp5zZE1dSjxj8WySbKUGidmd6-Iw57bUfhvgpxscjfYdw8GLiw_E23lu5ReYK4gXQVMqnY1pOfTnEgXuehu1GGn691e_8huiA4TPBVe/s620/Jeremy%20Bolm%20IMDb%20%28CREDIT,%20Casey%20Lee%29%20%281%29%20wh.jpg"/></a></div></center><b><i><small><font color="red">Jeremy Bolm's headshot and Balladeers, Redefined mustard with red splatter vinyl (CREDIT: Casey Lee / SOURCE: deathwish, Inc.)</b></i></small></font><br>
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Painstakingly orchestrated over a two-and-a-half-year period by Jeremy Bolm (Touché Amoré, Hesitation Wounds, The First Ever Podcast,) Balladeers, Redefined showcases 31 Screamo/Screamo-adjacent bands both new and old hailing from all across the world. It saw a <a href="https://deathwishinc.com/apps/omega-search/?q=BALLADEERS">wide release</a> just this past Friday on Bolm's own deathwish, Inc. imprint, Secret Voice Records now available on bone with splatter, mustard with red splatter, and Coke bottle green-colored vinyl, digital, T-shirt, long-sleeved shirt, and zip-up hoodie formats. We recently sent out a five-question fact-finding questionnaire. 14 of these bands/artists graciously got back to us for a partial Balladeers, Redefined track-by-(almost every)-track breakdown. Check it out below and go pick up a copy of Balladeers, Redefined on your preferred format of choice and with that said, "LET'S F***ING GO!!!"<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4273988895/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Nuvolascura</a></iframe></center>
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"Word of mouth can be a powerful thing. Featuring new and unreleased tracks, <a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined</a> was originally going to be a small handful of bands, but before long, we found ourselves with 30+ who were all bringing their originality and brilliance to a genre held special by those who've found it. Every band recommended another band. The D.I.Y. network behind Screamo & [Screamo]-adjacent Indie or Hardcore is like few others and that alone is a wonderful inspiration. This compilation brings together bands from all over, older and newer. From bands comprised of musicians who've been spearheading the sound, like JEROMES DREAM, Zeta, Gillian Carter, Hundreds of AU (members of You and I), NØ MAN (members of Majority Rule,) and TERMINAL BLISS (members of Pg. 99) to younger bands, like SOUL GLO, Record Setter, Infant Island, Boneflower, for your health, Slow Fire Pistol, nuvolascura, FRAIL BODY, THIRDFACE, Senza, MASSA NERA, and many more," Secret Voice shares.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4049523575/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Hundreds of Au</a></iframe></center>
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<b>I. How do you personally know Secret Voice founder Jeremy Bolm (Touché Amoré, Hesitation Wounds, Weird: The Weird Al Story) and/or how did you get involved in Secret Voice's 31-track Screamo compilation, Balladeers, Redefined?<br></b>
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<b><FONT COLOR="ff0000">Tom Schlatter (Hundreds of AU):</font></b> I met Jeremy many years ago backstage at a Thursday show. We were both doing guest vocals for the show. We kept in touch afterwards and crossed paths on various tours.<br>
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<b><FONT COLOR="235CFF">MASSA NERA:</font></b> We've been in touch with Jeremy via social media over the years. He emailed us one day, asking if we wanted to be part of this. Saying "yes" was a no-brainer; especially, since we were already practicing extremely frequently in preparation for our last record (Derramar | Querer | Borrar.)<br>
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<b><FONT COLOR="5BFF03">Edie Quinn (coma regalia):</font></b> I don't know Jeremy personally, but did get an email with some very nice words from Jeremy asking us to be on the compilation. Of course, I took that opportunity to ask Jeremy to do a vocal track on the De Facto Enscripture album I put together, as well.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1119520526/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Record Setter</a></iframe></center>
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<b><FONT COLOR="FF6E03">Heavenly Blue:</font></b> Jeremy reached out to our old band, <a href="https://youthnovel.bandcamp.com/album/youth-novel">Youth Novel</a>, on submitting to the Balladeers, Redefined compilation. That band had a few track skeletons in the queue that we'd started during the writing process for our 2021 album, self-titled. After discussing with the other remaining members (Maya Chun, Jon Riley, [and] Nathan Whittle,) we changed our name and brought on new members Kris Lane, Mel Caren, Juno Parsons, Mac Porter, and Andrew Coughlin to round out the current eight-member iteration of Heavenly Blue. In a roundabout way, this compilation is was the impetus for us to write new music and form this group.<br>
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<b><FONT COLOR="8903FF">Seb Alvarez (meth.):</font></b> I randomly got an email from Jeremy about contributing to the comp. during [The Pandemic] Shutdown, which, actually, couldn’t have come at a more perfect time 'cause meth. really needed a spark to work on something. Not the most exciting story, but it helped us crawl out of the COVID creative hole for sure.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2299593137/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Massa Nera</a></iframe></center>
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<b><FONT COLOR="FFD903">JEROMES DREAM:</font></b> We met Jeremy in 2019 when he invited [JEROMES DREAM] (J.D.) to play some shows with Touché Amoré. We were just coming off a tour with Loma Prieta, so it worked out perfectly—it was a really fun tour and everyone in Touché are such sweethearts. So, when Jeremy asked us to contribute to this release, it was a no-brainer.<br>
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<b><FONT COLOR="03FFAB">Boneflower:</font></b> We've been T.A. fans for a long time and we even covered one of their songs when we started as a band. When Jeremy wrote us the email, we were super-stoked about being part of the comp.<br>
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<b><FONT COLOR="FF0389">Logan "Logi" Rivera (Gillian Carter):</font></b> Jeremy hit us up back in 2019 or 2020, I think(?) and I instantly said, "yes."<br>
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<b><FONT COLOR="179001">Juan Pablo Castillo (joliette):</font></b> We met Jeremy the very first time we ever played in the US (and anywhere outside of Mexico, for that matter). It was in Austin back in 2014 at SXSW. We couldn't catch Touché Amoré live that time, but we met him outside of the venue where they had played and gave him a CD of our first full-length LP, titled Principia. Later that year, we were able to see them play live in Gainesville, FL, at THE FEST.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2757906052/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Hawak</a></iframe></center>
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We were invited to play there and we took the opportunity to see many bands we hadn't had the chance to see live until that weekend. Then, in 2017, they came to play to Mexico City and that was the first time we could, actually, hang out in person with Jeremy. We, also, made a lot of great friends during those years, who, also, happen to be friends with him, the guys from Loma Prieta, Tiny Moving Parts, and Birds In Row, to name a few. We felt really excited and flattered when he contacted us to invite us to participate in this awesome compilation a few years after we hung out in Mexico City.<br>
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<b><FONT COLOR="23F8FF">Carrion Spring:</font></b> 13 or so years ago, one of our earliest members, [Thomas "Thom" Debruhl], briefly met Jeremy at a show out here in Portland, I believe, [at] the now-defunct venue called Rotture, and he said the interaction was very kind. Jeremy had asked us to be on the comp., which came as a huge honor. Being a West Coast band, we have some dear friends who are, also, friends with Jeremy, so there are very few degrees of separation.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3638360360/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Thirdface</a></iframe></center>
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<b><FONT COLOR="B623FF">Juan Chi (Zeta):</font></b> First and most importantly, thank you for considering us for this questionnaire. We appreciate your time and energy. We met Jeremy back in 2017. We [played] a show together; Zeta opening for Touché Amoré, Gouge Away, and Single Mothers. We have always [known] about their music and learned about Secret Voice through Gouge Away's album, Burnt Sugar (produced by Jeremy,) and SOUL GLO's album, Songs to [Yeet] At The Sun, (both released by Secret Voice.)<br>
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I had the opportunity of chatting with Jeremy during an episode for [The] First Ever Podcast. And not long after that, we got the invitation to be part of the Balladeers compilation and it was a no-brainer. [It] is an honor to be part of such an amazing group of bands. All the bad-a$$es of Screamo are in here.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2866067362/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Closer</a></iframe></center>
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<b><FONT COLOR="FE9A2E">Blake Hall (Slow Fire Pistol):</font></b> We know Jeremy through our bands playing together throughout the years. I think the strongest connection would be through Hank [Pratt's] (guitar/vocals for [Slow Fire Pistol] (S.F.P.)) previous band, Dead In The Dirt, and Jeremy's awareness of that band. Pretty early on in S.F.P., we played an Atlanta date of a Touché Amoré tour. He's always seemed to be a supporter of our band ever since the beginning. We became involved in this comp. through Jeremy reaching out to Hank and asking if we'd be interested in recording a song for it. We were all very into it.<br>
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<font color="hotpink">Mason Caldwell (Senza):</font></b> We don't personally know Jeremy Bolm! We got involved in the compilation by being recommended by other bands and Jeremy reached out to us. It was definitely a huge honor to be included and when we got that email, it was very exciting.<br>
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<font color="silver">Eyelet:</font></b> We don't know Jeremy personally. He asked us to be on the compilation via a label we work with.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/Du9NeGQ8HgE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>II. What were some of your greatest sources of inspiration and influence while creating and recording your submission for Balladeers, Redefined?<br></b>
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<b><FONT COLOR="ff0000">Hundreds of AU:</font></b> We were writing a batch of songs heavily inspired by Portraits of Past. We opted for low-gain single-coil guitars, lots of reverb, and stuck to a more melodic chord structure. Out of the batch of songs, we set one aside for this comp.<br>
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<b><FONT COLOR="235CFF">MASSA NERA:</font></b> Lyrically, [Aeryn Jade "A.J." Santillan] was writing from a place of personal experience. Musically, we were, actually, thinking of Shudder to Think, specifically, in regards to the extended, looping 5/4 section ("apologies are meaningless...") A lot of the songs on Pony Express Record (1994) feature these incredible, off-kilter looping passages. We didn't quite do that, but such an idea served as the initial spark. Toe was, also, an influence, specifically, for the last section!<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=652439435/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Nø Man</a></iframe></center>
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<b><FONT COLOR="5BFF03">coma regalia:</font></b> I don't know that there was a specific inspiration for the track, in particular, but I remember asking Steve [Roche] when he mixed it to make the end vocal sound like "it was from a You and I record." I think that's even more fun because Tom [Schlatter], our bassist, was in that band.<br>
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<b><FONT COLOR="FF6E03">Heavenly Blue:</font></b> Heavenly Blue records ourselves and draw from a wide range of influences. This song, stylistically, draws heavily from early 2000's European Screamo; notably, Louise Cyphre & La Quiete and 90's Post-hardcore, like At The Drive-In. Our overall sound and song-writing draws heavily from Noise Rock, No Wave, and more [Experimental] sensibilities, with some of our collective favorites being The Locust, Doomsday Student, and Machine Girl.<br>
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<b><FONT COLOR="8903FF">meth.:</font></b> We pulled from a lot of different places, but this song in particular, we wanted to create something that just felt really gross and heavy. Zack [Farrar] had recently acquired a waterphone and it really added that extra push of horrific textures we were looking for.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3961243625/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Coma Regalia</a></iframe></center>
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<b><FONT COLOR="FFD903">JEROMES DREAM:</font></b> "Reminders to Parallel" was this first song we wrote during the early days of The Pandemic; we had just begun rehearsals and writing again and the song felt like an evolution for the band. In ways, it was, since Sean Leary from Loma [Prieta] was officially playing in the band at that point and this is the first thing we wrote and recorded together.<br>
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<b><FONT COLOR="03FFAB">Boneflower:</font></b> When we started to write "Phyrric Victories," we wanted to balance the more aggressive parts from our older album, A(r)mour, with the Shoegaze parts from our newer Dolor [/ 遠来]. We don't know if it's noticeable, but Holy Fawn, Deafheaven, [and] Birds In Row are some influences we feel in our [latest] music.<br>
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<b><FONT COLOR="FF0389">Gillian Carter:</font></b> We're playing 10 shows around Europe with Touché Amoré in July/August and, then, a few more shows in the USA & Canada. After that, we'll stop playing live and focus on writing the next album.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2673503488/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Amitié</a></iframe></center>
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<b><FONT COLOR="179001">joliette:</font></b> We have always been huge Deftones fans and I think the influence in this song is very notorious. They have a knack for making songs in major keys sound crushingly beautiful and that's what we aimed for with this song. We were, also, inspired by how At The Drive-In used to write songs with interesting chord progressions while keeping the intensity levels high.<br>
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<b><FONT COLOR="23F8FF">Carrion Spring:</font></b> Funny you ask, this might be inappropriate to share and a ridiculous take on "influence and inspiration," but I had eaten a bunch of psilocybin mushrooms while writing and recording this song. At the time, the band was down to just myself (Adam [Ciresi]) and one of our previous drummers (Phil [Degennaro].) We wrote and recorded rhythm guitar and drums pretty quickly.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1495826976/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Elle</a></iframe></center>
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I spent the next day or so writing and recording bass, lead guitar, and vocals. Our past guitarists are incredibly talented and I strangely convinced myself that I could channel some of their musical prowess while on mushrooms. It felt like it somehow worked lol. The lyrics were, also, written while recording vocals and they are, actually, some of my favorite lyrics I've ever written for the band.<br>
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Musically, I wanted it to feel a bit more melodic than many previous darker songs of ours, yet still relate a lot of the frustration and cognitive dissonance that was being experienced at the time. I imagine, similar to some of the other bands on this comp., our song was written amidst The Pandemic.<br>
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I have a severe autoimmune disease and even though at the time things were loosening up in regards to COVID, I still had to be extra cautious, so not only did we have to do a stripped down recording in my basement, but the political, cultural, and environmental volatility that continued (and still continues) to spin out of control as The Pandemic ensued had inspired the lyrics of this song.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=409389725/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Various Artists</a></iframe></center>
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The title, "Supervisionary," is a play on words, but, also, functions as a double entendre, loosely suggesting how much our lives in this country exist under constant surveillance, while our ideas, largely influenced by ideologies of individualism, all too often fall short of being able to truly envision other possible worlds.<br>
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<b><FONT COLOR="B623FF">Zeta:</font></b> We are a very weird band, we believe in fusioning styles of music and we are kind of all over the place. But for this particular song, we wanted to tap in the influences we have from Screamo, Powerviolence, and Post-rock more than anything. We always been heavily influenced by the Japanese legends, ENVY, the south American band, Árboles en Llamas, and the Italian band, Raein. I think that's a good part of the inspiration for this song.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2747318167/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Meth</a></iframe></center>
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<b><FONT COLOR="FE9A2E">Slow Fire Pistol:</font></b> Even though it sounds very different from most of our other songs, I don't know if there are any specific influences for the song, "Stolen" that would differ from our regular influences. Our influences are pretty all over the place, but Portraits of Past, Rites of Spring, La Quiete, His Hero Is Gone, and Hoover would be a few that we could all agree on.<br>
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<font color="hotpink">Senza:</font></b> This is a tough one because each of us all listen to such a wide variety of music. What I would say is our greatest source of inspiration for music is the people around us in our lives and the relationships we've formed.<br>
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<font color="silver">Eyelet:</font></b> We recorded our track, "Cinders," during a period of time when we were trying to write songs as a three-piece. It was interesting trying to transition from two guitars to one while still making the songs as full as possible.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3924490996/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Soul Glo</a></iframe></center>
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<b>III. Is your song released, previously unreleased, or newly recorded specifically for Balladeers, Redefined? If it was previously released, where can eager fans find it?</b><br>
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<b><FONT COLOR="ff0000">Hundreds of AU:</font></b> The song is exclusive to the comp., though we did record it live for a video set that we did recently. You can watch the whole set at <a href="https://youtu.be/JzpWg2yFDZs">YouTube</a>.<br>
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<b><FONT COLOR="235CFF">MASSA NERA:</font></b> It's previously unreleased! It was written and recorded for this comp.<br>
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<b><FONT COLOR="5BFF03">coma regalia:</font></b> "FlourFourSeven" is an unreleased track that we recorded and wrote specifically for the comp. Sometimes, our songs wrack up a bit of continuity, so we tried to put together one that stands on it's own a bit more. A "one and done," if you will.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/CSYLEViOMcI" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b><FONT COLOR="FF6E03">Heavenly Blue:</font></b> This song was previously unreleased and represents a transitional track between our old band, Youth Novel, and new band, Heavenly Blue. This song features former vocalist, Nathan Whittle, and current guitarist on vocals, instead of our current duo, Mel [Caren] & Juno [Parsons]. This version will only be available on Balladeers and a new, re-recorded version will be on our upcoming LP.<br>
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<b><FONT COLOR="8903FF">meth.:</font></b> This song is big ol' new.<br>
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<b><FONT COLOR="FFD903">JEROMES DREAM:</font></b> You can, also, find this song on our Bandcamp and, eventually, streaming everywhere.<br>
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<b><FONT COLOR="03FFAB">Boneflower:</font></b> We specifically wrote and recorded "Phyrric Victories" for the comp.; it can't be found anywhere else.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/ynAqfIMa-zE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b><FONT COLOR="FF0389">Gillian Carter:</font></b> This song was newly recorded just for the comp. We'll most likely put it up for streaming soon after the comp. comes out.<br>
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<b><FONT COLOR="179001">joliette:</font></b> The song, which is called "Pilates con Poncio (Pilates with Pontius)," hasn't been released in any other form besides the Balladeers Redefined compilation. For now, that is the only place where people can find it online. We are, however, very eager to share this song with the people and can't wait to start playing it as part of our live shows.<br>
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<b><FONT COLOR="23F8FF">Carrion Spring:</font></b> "Supervisionary" was recorded specifically for this compilation. It was early in the song's emergence and since then, it has slightly evolved as it's been played live as a full-band, taking its full natural shape out in the world. Essentially, this recording is exclusive to the compilation. At some point, it will be re-recorded and included on a future full-length release.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2489767518/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Gillian Carter</a></iframe></center>
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<b><FONT COLOR="B623FF">Zeta:</font></b> "Cascabel" is a track made exclusively for Balladeers Redefined. You will only be able to find it in this compilation and nowhere else.<br>
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<b><FONT COLOR="FE9A2E">Slow Fire Pistol:</font></b> "Stolen" is a brand new, previously unreleased song that was recorded at the same time as three other songs that we'll be releasing on an EP on the same day the comp. is released.<br>
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<font color="hotpink">Senza:</font></b> I'm fairly positive that every song on this compilation is newly recorded and unreleased! We're very excited to have new music released.<br>
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<font color="silver">Eyelet:</font></b> No, we recorded this song specifically for this compilation. It is not featured on any other release.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2777973760/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Lord Snow</a></iframe></center>
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<b>IV. In addition to aside from your own submission, what (is/are) you favorite track(s) from Balladeers, Redefined and why (for each, if you selected more than one track)?</b><br>
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<b><FONT COLOR="ff0000">Hundreds of AU:</font></b> There are so many of our friends bands on this comp., all that really show [some] of their best characteristics with this material. We often play shows with MASSA NERA & closer. We've been fortunate to cross paths with HAWAK, Crowning, FRAIL BODY, coma regalia, and for your health. I always love hearing new material from Carrion Spring, nuvolascura, and Zeta.<br>
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<b><FONT COLOR="235CFF">MASSA NERA:</font></b> Honestly, there are so many incredible tracks on Balladeers, Redefined. We can't choose a favorite, especially, since so many of the songs were written by friends of ours. We would, however, like to highlight Infant Island's submission. They're some of our oldest friends and they haven't put out a new song in three years. Their track is the perfect finale for this comp.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=466866069/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Joliette</a></iframe></center>
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<b><FONT COLOR="5BFF03">coma regalia:</font></b> I really feel like every band brought their A-game to this, but I guess I'd say I was looking forward to Senza, Carrion Spring, and lord snow the most since it seems like it's been longer since we've heard new music from them. Needless to say, their tracks are all great.<br>
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<b><FONT COLOR="FF6E03">Heavenly Blue:</font></b> We absolutely love nuvolascura and their track, "Myriad," is amazing. I'd go out on a limb and say whatever they put out next will be the best of the year. It's, also, super-rad to hear the new FRAIL BODY track, "Titus." They're close friends and are huge inspirations for us in terms of work ethic and commitment to progressing the sound of Screamo/Chaotic Hardcore.<br>
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<b><FONT COLOR="8903FF">meth.:</font></b> Definitely have to give FRAIL [BODY] a [shout-out]; some of my favorite people in the world and I could listen to [Nicholas "Clem" Clemenson] drum all day. He f***ing rips all over their track.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3368482746/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Carrion Spring</a></iframe></center>
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<b><FONT COLOR="FFD903">JEROMES DREAM:</font></b> The elle track is beautiful.<br>
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<b><FONT COLOR="03FFAB">Boneflower:</font></b> All songs and bands are unbelievably good, but if we had to choose one, that would be FRAIL BODY, one of our favorite bands in the scene.<br>
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<b><FONT COLOR="FF0389">Gillian Carter:</font></b> Actually, I haven't gotten to listen to the rest of the comp. yet, but I will once it comes out. I'm pretty stoked to check out everyone's tracks.<br>
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<b><FONT COLOR="179001">joliette:</font></b> It's a bit of a tough question to answer because we enjoyed every single song of the compilation. It's [an] honor and a great pleasure for us to be a part of it with so many awesome bands that we look up to. The JEROMES DREAM song, "Reminders to Parallel," is definitely one of our favorites. They're just such an amazing band.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1928763753/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Zeta</a></iframe></center>
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Another couple of bands we'd like to give a shout-out to are Gillian Carter & Zeta. We have played with both bands in several cities here in Mexico and we have many cool memories of us touring with those two bands. They're very easygoing, funny, and extremely talented musicians; definitely awesome people to be around of. Both their respective songs in the compilation are great, some of our favorites, for sure.<br>
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<b><FONT COLOR="23F8FF">Carrion Spring:</font></b> This isn't a "fair" question because I love pretty much love all of the tracks; way too many of these bands are homies and I think everyone did a fantastic job... but, if I were to be forced to cherry-pick one, I'd share that the HAWAK song thoroughly blew my mind—I remember hearing it and having goosebumps during the pause with a quick audio sample, which is immediately followed by a crushing breakdown afterwards. It's just so brutal.<br>
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<b><FONT COLOR="B623FF">Zeta:</font></b> "I Blame You" from amitié. is really cool, but, honestly, all of the songs are amazing.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=303813947/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Frail Hands</a></iframe></center>
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<b><FONT COLOR="FE9A2E">Slow Fire Pistol:</font></b> It's hard to pick because there are so many fantastic bands on this comp., but, personally, I'm most excited for HAWAK, THIRDFACE, elle, JEROMES DREAM, Carrion Spring, and TERMINAL BLISS. All [of these] bands are great, have never released anything less than great, and their submissions for this comp. won't be any different.<br>
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<font color="hotpink">Senza:</font></b> I'm really excited about the HAWAK & nuvolascura tracks!<br>
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<font color="silver">Eyelet:</font></b> At this time, the compilation has not been released yet, so we haven’t heard all the songs yet. All of the songs that have been put out, so far, are really sick and we're excited to hear what everyone else did.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1562402278/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Slow Fire Pistol</a></iframe></center>
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<b>V. What's planned next for your band?</b><br>
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<b><FONT COLOR="ff0000">Hundreds of AU:</font></b> We head off for a short weekend [tour] in August up to Toronto for New Friends Fest: August 4th - Albany, NY, August 5th - Toronto, ON, [and] August 6th - Syracuse, NY. In October, we head down to Florida for [THE] FEST.<br>
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<b><FONT COLOR="235CFF">MASSA NERA:</font></b> We have quite a lot planned! A good amount of stuff is in-the-works. We have a couple tours planned for August (one with Habak & Quiet Fear and one with Black Matter Device.) Beyond that, we don't want to go into much detail. Hopefully, everything pans out!<br>
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<b><FONT COLOR="5BFF03">coma regalia:</font></b> In August, we're releasing a split with snag. from Milwaukee, as well as another four-way split that'll be out on tape soon. This summer, we, also, started recording our eighth album, Hunting Shadows. You can catch us at New Friends Fest, as well along with many other bands from the comp.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=418757159/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Senza</a></iframe></center>
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<b><FONT COLOR="FF6E03">Heavenly Blue:</font></b> We just wrapped a couple tours with Blind Girls from Australia and Venus Twins from New York City, (who are, quite frankly, the most exciting bands making music right now; check them both out) and finished tracking our debut record. Next for us is getting these songs mastered and, hopefully, working with a label that aligns with our values and commitments.<br>
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<b><FONT COLOR="8903FF">meth.:</font></b> We have a new record coming out next year and a whole bunch of tours coming up. We are working on something very special for our album release show, as well, so keep an eye out for that. Thanks!<br>
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<b><FONT COLOR="FFD903">JEROMES DREAM:</font></b> Follow J.D. on <a href="https://www.instagram.com/jeromesdreamforever/?hl=en">Instagram</a> or keep up on tour, etc. at <a href="https://www.jeromesdreamforever.com/">JEROMES DREAM FOREVER</a>. Thank you!<br>
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<b><FONT COLOR="03FFAB">Boneflower:</font></b> We're playing 10 shows around Europe with Touché Amoré in July/August and, then, a few more shows in the USA & Canada. After that, we'll stop playing live and focus on writing the next album.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4171127249/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Eyelet</a></iframe></center>
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<b><FONT COLOR="FF0389">Gillian Carter:</font></b> We just got back from touring Japan. Next is Europe in late July, then, another tour, which I can't announce yet, in November. Next year, West Coast, maybe?<br>
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<b><FONT COLOR="179001">joliette:</font></b> We are planning to tour Europe this summer. We are going to be there pretty much for the entire month of August and a few more days in September. We are particularly stoked about this because we haven't toured Europe since 2018 and it's always a great and exciting time. We are, also, planning on doing a proper tour throughout Mexico, our country, during the final months of the year.<br>
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<b><FONT COLOR="23F8FF">Carrion Spring:</font></b> We are currently about two-thirds [of] the way through writing a new album. Some of these songs are years in-the-making and we have great anticipation to soon share them with the world. We've recently eased back into playing live shows with a new line-up of members and look forward to performing out more.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3457803214/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Terminal Bliss</a></iframe></center>
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<b><FONT COLOR="B623FF">Zeta:</font></b> We are about to go on a US tour supporting Sparta & Geoff Rickly [Thursday, United Nations] over the summer. And, hopefully, releasing new music soon.<br>
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<b><FONT COLOR="FE9A2E">Slow Fire Pistol:</font></b> Completely unintentionally, we are releasing a new EP on the same day this comp. is fully released (7/14.) Radiant is a new three-song EP released through <a href="https://www.tigerrecs.com/shop/p/slow-fire-pistol-radiant-7-orange-vinyl">Tiger Records</a> & <a href="https://deathwishinc.com/collections/music/products/slow-fire-pistol-radiant">deathwish, [Inc.]</a> with a cassette release by none other than Mr. Bolm himself on <a href="https://www.secretvoice.org/">Secret Voice</a>.<br>
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We're extremely excited to get all of these songs out to the public. We worked very hard on them and they cover a lot of ground in a way that encapsulates what we've always wanted this band to sound like. We'll, also, be joining our friends in Gouge Away on a Southeast run of shows at the end of July. We don't get to play very often, so it's always special to us when we do. Thanks, Matt!<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3509118087/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Hazing Over</a></iframe></center>
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<font color="hotpink">Senza:</font></b> At the moment, we are currently working on LP2! It's been a long process, but we will release another album in the next year or two, hopefully!!! We'll, also, keep playing shows locally whenever cool bands come through!!<br>
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<font color="silver">Eyelet:</font></b> We have a few shows planned for the remainder of the year, festivals and stuff. Aside from that, we're going to try to hunker down and write some new material.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1667094231/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2683301016/transparent=true/" seamless><a href="https://secretvoice.bandcamp.com/album/balladeers-redefined">Balladeers, Redefined by Infant Island</a></iframe></center>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-71906637910560926262023-07-09T21:03:00.004-07:002023-07-10T08:58:27.155-07:00FRND CRCL's Zac Johnson, Aaron Smith & Nick Johnson Drop Some Knowledge About Their Latest Album Suburban Dictionary (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEUUCcC6zPxdtN5iq3gMOYIPVn1Ejwk8r2OZYkKB0CskzhkgFtPti1PolHhNLM5DXLg6FPrSZPGQ3wI2f3ATyuM_8y9Ih2KLnWC80j1WjP6-_7QJW8Mv4uPK_fNS56VwEzDLTW-cQu4HQi4PDS9Wo6HTTX9RvfYA0JBFz1OqImHalA4ufI-E2fJnQ6JJEs/s1900/Screenshot_20230613_003347_Instagram.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEUUCcC6zPxdtN5iq3gMOYIPVn1Ejwk8r2OZYkKB0CskzhkgFtPti1PolHhNLM5DXLg6FPrSZPGQ3wI2f3ATyuM_8y9Ih2KLnWC80j1WjP6-_7QJW8Mv4uPK_fNS56VwEzDLTW-cQu4HQi4PDS9Wo6HTTX9RvfYA0JBFz1OqImHalA4ufI-E2fJnQ6JJEs/s620/Screenshot_20230613_003347_Instagram.jpg"/></a></div></center><b><i><small><font color="blue">FRND CRCL, L-R: Zac Johnson, Nick Johnson, and Aaron Smith (CREDIT: Jesse Joseph)</b></i></small></font><br>
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Hailing from Vineland/Cedarville, New Jersey, FRND CRCL's members are, as frontman/guitarist Zac Johnson's <a href="https://twitter.com/SuburbanKing_">Twitter</a> handle proclaims, tried and true @SuburbanKing(s)_. I've known and have quite unique relationships with each of FRND CRCL's three current members: drummer Aaron Smith and I worked together at our local Shop Rite grocery store for at least 5-6 years and, then, for a couple more at the County Administration building until a couple months ago when my department moved out and into a different location. I went all through high school with newest member, bassist, and Zac's older brother, Nick, and we shared a mutual FR(IE)ND C(I)RCL(E). Now, I only recently met Zac at a FRND CRCL gig a couple months ago, but we've been messaging back-and-forth on social media for a year or so now. Also, I've driven by Zac & Nick's dad's Christmas tree farm in Hopewell/Upper Deerfield for years now and drive by it everytime my wife, son, and I go over to visit my in-laws.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD8uSdJSb7S7R0-khSz5Bg1YLU9uyj6ZvTcX4V7YJUGvsu1ww4ojcn-B35OstkgP8uKcuHS8z_13YNg5Y-gTkZd39XnLfg_GY0gsargEg0HeNddsOgqZBIGQZJSh4kvFmQHD-jqYorRJDYLSX1h_HblSNVBmRFvhHwT2xa2zlnojTkZp7E4olbrjhIQmm3/s1900/357244284_950504352844392_93463023344270160_n%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD8uSdJSb7S7R0-khSz5Bg1YLU9uyj6ZvTcX4V7YJUGvsu1ww4ojcn-B35OstkgP8uKcuHS8z_13YNg5Y-gTkZd39XnLfg_GY0gsargEg0HeNddsOgqZBIGQZJSh4kvFmQHD-jqYorRJDYLSX1h_HblSNVBmRFvhHwT2xa2zlnojTkZp7E4olbrjhIQmm3/s620/357244284_950504352844392_93463023344270160_n%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="blue">FRND CRCL, L-R: Aaron Smith, Zac Johnson, and Nick Johnson and High Wire x FRND CRCL Chicago show flyer (CREDIT: Jesse Joseph / SOURCE: Instagram)</b></i></small></font><br>
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So, this is all a very round-about, long-winded way to simply say Zac, Aaron & Nick from FRND CRCL are just a band of good, fun-loving, hometown dudes. Prior to the release of their third studio album, Suburban Dictionary, just a couple Fridays ago, FRND CRCL released a staggering six pre-album singles, "47," "ADHD," "Clinically Insane," <a href="https://frndcrcl.com/product/fuck-california-single-t-shirt-preorder/?utm_medium=social&utm_source=linktree&utm_campaign=%28preorder%29+fuck+california+single+t-shirt">"F__k California,"</a> "Golden," and "No Chill." I got an early press album advance of Surban Dictionary, so I've had a bit of time to sit with it, and I'd say I'd liken its overall sound to a stylistic Pop-punk revivalist cocktail of Fall Out Boy, Green Day, Neck Deep, and Simple Plan with <a href="https://www.discogs.com/master/38108-Blink-182-Take-Off-Your-Pants-And-Jacket">Take Off Your Pants & Jacket</a> era blink-182 and <a href="https://www.discogs.com/master/87583-Sum-41-Does-This-Look-Infected">Does This Look Infected?</a> stage SUM 41 likely being their collective biggest sources of inspiration and influence. I recently got a chance to conduct an interview with Zac Johnson, Aaron Smith & Nick Johnson about FRND CRCL's fantastic new album, <a href="https://onerpm.link/108669511041?utm_medium=social&utm_source=linktree&utm_campaign=listen%202%20%E2%80%9Csuburban%20dictionary%E2%80%9D%20">Suburban Dictionary</a>, and what's to come next from Cumberland County, NJ's favorite Pop-punk band.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=969490080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3125739322/transparent=true/" seamless><a href="https://frndcrcl.bandcamp.com/album/suburban-dictionary">Suburban Dictionary by FRND CRCL</a></iframe></center>
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<b>I. When, where, how, and why did FRND CRCL initially begin?</b><br>
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<font color="red"><b>FRND CRCL:</font></b> Zac [Johnson] & Aaron [Smith] met at [Cumberland County] community college in 2015. The meaning behind FRND CRCL (pronounced "friend circle," for those not yet acquainted) is that everyone has one. Every friend circle has these unique bonds because the friend group shares a coalition of experiences that bring them closer together. There's something sacred in that bond and it's powerful. For instance, my (Zac's) group of friends in high school, basically, did everything together to the point where we all stood in a circle to converse in the hallway before class; thus, the nickname "friend circle," the group who always unintentionally fills the hallway before class, was born. With that being said, FRND CRCL is comradery, brotherly bonds, and good times with your closest mates. We didn't quite fit in, but we fit in with each other.<br>
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<b>II. Who are the current members of FRND CRCL and what is each member's role within the grand scheme of the band?</b><br>
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<font color="red"><b>FC:</font></b> Zac Johnson & Aaron Smith, founder and co-founder. Zac's brother, (Nick [Johnson,]) is a full-time member and touring bassist.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/9LN_l-1G_kE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>III. What is the significance or intended meaning behind the title of your forthcoming album, Suburban Dictionary?</b><br>
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<font color="orange"><b>Zac Johnson:</font></b> Suburban Dictionary in a way is a collective of thoughts and a peer into the life of the everyday suburbanite; a view into the life of average people seeing the world turn around us.<br>
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<font color="red"><b>FC:</font></b> Suburban Dictionary is a Pop-punk conceptual piece that, from start to finish, takes you through a-day-in-the-life of the average suburbanite. Starting with "7AM," and delving into social issues, love, mental health, [etc.]<br>
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<b>IV. How would you say FRND CRCL's sound has changed, evolved, grown, and/or progressed since your last album, 2020's <a href="https://frndcrcl.bandcamp.com/album/internet-noise">Internet Noise</a>?</b><br>
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<font color="gold"><b>Nick Johnson:</font></b> They are very different records. Suburban Dictionary is an encapsulation of FRND CRCL's evolution, from humble beginnings as an up-and-coming Pop-punk band, to the challenging and provocative musical themes of Internet Noise. This album represents Zac & Aaron performing at their highest level of song-writing ability and hitting the mark of defining FRND CRCL's signature sound.<br>
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<font color="orange"><b>Zac:</font></b> I wanted to write a record that felt genuine to, not only my current life experiences, but, also, my past. I feel like there's been a story waiting to be told from the time before I started the band that I wanted to delve into; a record that the young 10-year-old skateboarding around the neighborhood would listen to, to the 24-year-old me working a job and seeing school shootings on television. It feels very fulfilling in that manner.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=969490080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=899837197/transparent=true/" seamless><a href="https://frndcrcl.bandcamp.com/album/suburban-dictionary">Suburban Dictionary by FRND CRCL</a></iframe></center>
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<b>V. What did the writing, creation, recording, production, etc. processes behind Suburban Dictionary typically entail?</b><br>
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<font color="red"><b>FC:</font></b> These songs started out as demos [we were] making during down time in The Pandemic. [We] felt like [we] had a lot to say about the way the world was changing—the way music was evolving via social media... it was an exciting time and [Zac] was glued to [his] guitar. [A] lot of it just poured out, which felt not only genuine, but satisfying.<br>
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<b>VI. Who or what would you cite as some of your greatest sources of inspiration and influence while creating Suburban Dictionary?</b><br>
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<font color="red"><b>FC:</font></b> The Internet, society, growing up, skateboarding, and Punk Rock.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=969490080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3447498100/transparent=true/" seamless><a href="https://frndcrcl.bandcamp.com/album/suburban-dictionary">Suburban Dictionary by FRND CRCL</a></iframe></center>
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<b>VII. For first-time listeners, what should they expect when hitting Play on Suburban Dictionary on their preferred streaming platform of choice or while cueing up that shiny <a href="https://frndcrcl.com/product/suburban-dictionary-vinyl/?utm_medium=social&utm_source=linktree&utm_campaign=%28pre+order%29+suburban+dictionary+vinyl">yellow vinyl</a> LP?</b><br>
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<font color="red"><b>FC:</font></b> The first two tracks are really just one song with an elongated introduction to the album. [We] wrote it with the intention of being an uplifting, positive, and heavily energetic piece of music; [we] hope that translates to the listener and that they start their days off on the right foot.<br>
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<b>VIII. What can you tell us about the filming processes and storylines behind your music videos for "Golden," and "47?"</b><br>
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<font color="red"><b>FC:</font></b> The filming was a lot of work, but, also, a lot of fun. Thanks to our director and video producer, Trevor Jennings (<a href="https://www.facebook.com/createdbytrevor/">Created By Trevor</a>,) we got to utilize a lot of cool props, special effects, and cinematics that we never got to use before.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/UisGE-O3N3w" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>IX. In addition to or aside from the members of FRND CRCL, who else was involved in the creative processes behind Suburban Dictionary?</b><br>
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<font color="red"><b>FC:</font></b> Tyler Skye (producer, recording engineer, [mixing] engineer,) <a href="http://www.thehilsonstudio.com/">The Hilson Studio</a>, Nashville, Tennessee. Sean Powers (producer, recording engineer/drums and bass, mastering engineer,) The Hilson Studio owner, Nashville, Tennessee. Recorded during the summer of 2022 at The Hilson Studio.<br>
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<b>X. Would you go as far as to say FRND CRCL's Suburban Dictionary is a concept album? We noticed the album itself seems to span from <a href="https://frndcrcl.bandcamp.com/track/7am">"7AM"</a> (Track 1) to after <a href="https://frndcrcl.bandcamp.com/track/midnight">"Midnight"</a> (Track 12.)</b><br>
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<font color="red"><b>FC:</font></b> Suburban Dictionary is a Pop-punk conceptual piece that, from start to finish, takes you through a-day-in-the-life of the average suburbanite. Starting with "7AM" and delving into social issues, love, mental health, etc. The significance is that it was written as a window into what life is like for the average person. It's serious in that manner, but it's, also, a funny play on the website <a href="https://www.urbandictionary.com/">Urban Dictionary</a>. Much like the average person, we tend to find the humor in otherwise sh*t situations and make the best of it. [We] suppose, that's kind of what this record is. It's an inside look at what it's like to be a commoner; a suburbanite, if you will.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=969490080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2363494763/transparent=true/" seamless><a href="https://frndcrcl.bandcamp.com/album/suburban-dictionary">Suburban Dictionary by FRND CRCL</a></iframe></center>
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<b>XI. Who are some of your favorite bands from in or around your local New Jersey/Tri-state Area scene that you think your fans might also enjoy?</b><br>
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<font color="red"><b>FC:</font></b> The band <a href="https://pollyannaband.bandcamp.com/">Pollyanna</a> is killing it.<br>
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<b>XII. What's planned next for FRND CRCL?</b><br>
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<font color="red"><b>FC:</font></b> We have some shows and are looking to set up some bigger tour runs and, of course, delving further into the next phase of our art. Thank you!<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=969490080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1426979595/transparent=true/" seamless><a href="https://frndcrcl.bandcamp.com/album/suburban-dictionary">Suburban Dictionary by FRND CRCL</a></iframe></center>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-55337893186324810702023-07-06T10:30:00.001-07:002023-07-06T10:30:15.169-07:003 Feet High & Rising: Members of ASPIGA, Graduation Speech, Public Serpents, Reunions & Seeing Snakes Form ERRTH & Share Control / Sleep All Day EP (self-released)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLzTE6ockwNjkZLjKVFbR3nHI5hQP4oooC0ZKtGPz6Nb9CX6ZR-36TWRag1Tk8dgoNX81bMqruMh_AvqXxsodfiv6BoH7T1mg0FUbMhKNhS-TY8PCelH4TAu61FKrOUMDG0cfoUPsQe6ZZg40jFr3XpMnbeQNvpEJHRjXiges7c1j8wp8_lrIx4Zf87LhC/s1900/Screenshot_20230629_123952_Instagram.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLzTE6ockwNjkZLjKVFbR3nHI5hQP4oooC0ZKtGPz6Nb9CX6ZR-36TWRag1Tk8dgoNX81bMqruMh_AvqXxsodfiv6BoH7T1mg0FUbMhKNhS-TY8PCelH4TAu61FKrOUMDG0cfoUPsQe6ZZg40jFr3XpMnbeQNvpEJHRjXiges7c1j8wp8_lrIx4Zf87LhC/s620/Screenshot_20230629_123952_Instagram.jpg"/></a></div></center>
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Kevin "Part Time Kevin" Day from Part Time PR often sends me press releases, which I've used for tons of coverage, as well as interviews, here on The Witzard and for an array of sites for which I contribute; some of those acts including <a href="http://thewitzard.blogspot.com/2023/03/crossed-keys-frontman-josh-alvarez.html">Crossed Keys</a>, <a href="http://thewitzard.blogspot.com/2021/10/dirty-shrines-bassist-drew-johnson.html">Dirty Shrines</a>, <a href="http://thewitzard.blogspot.com/search?q=divided+heaven">DIVIDED HEAVEN</a>, <a href="http://thewitzard.blogspot.com/2022/04/all-around-breakdown-elway-frontman.html">Elway</a>, and more. So, now, it's been a pretty cool, full-circle momemnt to be recieve press from/for and be able to cover one of Day's own bands. It's my pleasure to introduce Philadelphia's newest Punk band, ERRTH. Showcasing both current and former members of ASPIGA, Public Serpents, Reunions, and Seeing Snakes, ERRTH takes their love of bands from The East Bay & Chicago and adds their own Northeast attitude into the mix. ERRTH, actually, just played their first show as part of <a href="https://www.thepunksite.com/interviews/dave-adoff-crossed-keys/">Crossed Keys'</a> Believes In You record release show back in May. Their debut EP is made up of two blistering tracks that showcase two of the band's three song-writers. "Control," written and sung by Kevin Day, is a punchy number that is accented by a bouncy bassline and bursts of group vocals. "Sleep All Day," conversely written and sung by Eric Saylor, is more anthemic in its approach and allows the guitars to shine.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1125472070/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2258967163/transparent=true/" seamless><a href="https://errthisaband.bandcamp.com/album/control-sleep-all-day">Control / Sleep All Day by Errth</a></iframe></center>
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The songs were recorded by Arik Victor (Plow United, KILL YOUR IDOLS) at Creep Recording Studio, then, sent to Scott Goodrich (Culture Abuse, Broadway Calls) to be mixed, and finally, handed off to Dave Downham (Beach Slang, mewithoutyou, Into It. Over It) for mastering at Gradwell House. Control / Sleep All Day is available now on all of your preferred streaming platforms. ERRTH will be performing at Philly's own <a href="https://www.facebook.com/events/779902926962112">Kung Fu Necktie</a> on Wednesday, July 19th with Arms Aloft & Guerilla Poubelle. Formed in December of 2022, ERRTH is the newest addition to Philadelphia's vibrant Punk scene. Including Kevin Day (ASPIGA, Graduation Speech,) Eric Saylor (Reunions,) Tim DeMarco (ex-Public Serpents,) and Brian McClure (Seeing Snakes,) ERRTH mixes the influences of East Bay, Chicago, and Northeast Punk bands for an end result that is familiar yet refreshing. With three different song-writers at the helm, each identity has a moment to shine, but is strongly reinforced by the group as a whole. Since its inception, the band has spent every opportunity writing together and their debut EP, <a href="https://errthisaband.bandcamp.com/track/sleep-all-day">Control / Sleep All Day</a>, is just the beginning of what they have to offer. So, stay tuned and keep an eye out for their debut album in 2024.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1125472070/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3084426319/transparent=true/" seamless><a href="https://errthisaband.bandcamp.com/album/control-sleep-all-day">Control / Sleep All Day by Errth</a></iframe></center>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-64079144537080240872023-06-30T09:17:00.005-07:002023-06-30T13:03:16.967-07:00Dr. Daryl Wilson, M.D. "Writes A Script for" The Bollweevils' First Proper Full-length Album In 28 Years Essential for Red Scare Industries (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLSXbZhDiszq_ql_DmABOLaupn1-XZ31QX6ckOne5v-JSMLY-Vojp9YqQmh_9oSJTIf2bzxHAvqRA9tpExxGgCrP_oyva5HNRzcDy776UmpBR1UlmR6p4ez_FrE5LXZxTN0ZaHVXs5D9c-BU3reyN5NYE-YDMiaerc3bpJODf_WMXyW30Ro_KkhENmxk7h/s1900/Thd%20Bollweevils%20%28credit,%20unknown_source,%20online%29.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLSXbZhDiszq_ql_DmABOLaupn1-XZ31QX6ckOne5v-JSMLY-Vojp9YqQmh_9oSJTIf2bzxHAvqRA9tpExxGgCrP_oyva5HNRzcDy776UmpBR1UlmR6p4ez_FrE5LXZxTN0ZaHVXs5D9c-BU3reyN5NYE-YDMiaerc3bpJODf_WMXyW30Ro_KkhENmxk7h/s620/Thd%20Bollweevils%20%28credit,%20unknown_source,%20online%29.jpeg"/></a></div></center>
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<a href="https://www.discogs.com/artist/359760-The-Bollweevils">The Bollweevils</a> (sometimes, known as Rat Patrol) are a Chicago area Punk band, who were originally active from 1989-96. At that point, The Bollweevils broke upp/went on hiatus from about seven years while frontman Daryl Wilson finished up medical school and became a doctor morphing into Dr. Daryl Wilson, M.D. The Bollweevils played their "last" show at The Fireside Bowl in November of 1996, but soon re-formed for then-one-off shows in both 2003 and 2006 before fully, properly re-forming in 2007. The Bollweevils had a bit of a rotating cast of members and players for a number of years during this phase of their career, but have now solidified their current line-up as Dr. Daryl Wilson, Ken Fitzner AKA Ken Weevil, Peter "Pete" Mittler, and Pete Mumford AKA Sensitive Pete. Around 2012, The Bollweevils started diligently working on their first album together since re-forming and being fully revilatized.<br>
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So, some 11 years later, The Bollweevils released their first proper full-length album together in 28 years since 1995's <a href="https://www.discogs.com/master/365443-The-Bollweevils-Heavyweight">Heavyweight</a>. Essential was unleashed this past May on <a href="https://www.redscare.net/site/">Red Scare Industries</a>, the infamous Chicago-based Punk/Hardcore label co-founded by Tobias "Toby" Jeg and Brendan Kelly (The Lawrence Arms, The Falcon.) The Bollweevils have played shows with and been featured on bills alongside the likes of The Adolescents, Descendents, FIELD DAY, Jawbreaker, Naked Raygun, NO TRIGGER, Pulley, Rancid, and mostly recently, Rise Against Oddly enough, it's been said Jeg vowed years ago that he "would never put out a record by The Bollweevils," but, now, here we are and, as Bob Dylan once said oh, "the times they are a-changin'!" So, without further ado, here's my comprehensive interview ith The Bollweevils frontman Dr. Daryl Wilson! It has been lighly edited for general clarity. So, go cue up The Bollweevils' <a href="https://thebollweevils.bandcamp.com/album/essential">Essential</a> while you read along down below the break.<br>
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<b>I. Who are the current members of The Bollweevils and what is each member's role within the band?</b><br>
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<font color="red"><b>Dr. Daryl Wilson, M.D.:</font></b> Daryl Wilson - vocals, Ken Fitzner - guitar, Peter "Pete" Mittler - bass, [and] Pete Mumford – drums.<br>
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<b>II. So, Essential is The Bollweevils first full-length in how many years? I've seen something like 14 and... calculated 28 on my own.</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> Haha, it's 28 years in looking at LP's. Our last recording was the <a href="https://undercomm.bandcamp.com/album/attack-scene-ep">"Attack Scene"</a> 7-inch released in 2014-15. I think that's where the mix-up came from?<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1829718852/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=426119213/transparent=true/" seamless><a href="https://thebollweevils.bandcamp.com/album/attack-scene-ep">Attack Scene EP by The Bollweevils</a></iframe></center>
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<b>III. How did it genuinely feel to be recording and ultimately releasing the first Bollweevils album in so many years?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> It truly felt amazing. The whole process was fantastic. Writing these songs with everyone, the work that into the recording, the mixing, everything was great. It felt like we were fresh and felt like there was something special we were creating. And I can say we are all so proud of this work.<br>
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<b>IV. What did the typical writing, recording, production, creation, etc. processes behind Essential generally entail?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> For this record, we took the time to let the songs mature. Many of the songs we had been playing live for at least the past eight years. We didn't just slap them down and put them out without scrutinizing every detail. We took constructive criticism on each of our parts from everyone in the band, so the record is truly a team effort. During the recording, Jeff Dean at <a href="http://www.theechomill.com/">[The] Echo Mill [Recording Studio]</a> made us work to perfection on each performance.<br>
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He didn't let us slack on anything. And the mixing was magic! Chris Beeble from <a href="https://theblastingroom.com/">The Blasting Room</a> mixed it. He made this record really special and is the only person I will allow to mix anything from now on, period. He brought out exactly what we were supposed to sound like in our evolution. The Pandemic helped to push along the creative process of writing the songs. As I said, many of the songs had been played live for years, but The Pandemic helped to forge the songs into the end product of Essential.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=3445022477/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2819243125/transparent=true/" seamless><a href="https://thebollweevils.bandcamp.com/album/stick-your-neck-out">Stick Your Neck Out! by The Bollweevils</a></iframe></center>
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<b>V. Who or what would you readily cite as some of your greatest sources of personal inspiration and influence while creating Essential?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> The greatest influence while creating this record was the understanding of all of our roles in making the world work. That we are all "essential" to each other. We all suffered some hardships during The Pandemic and we all held each other up. We’re a band of brothers and through hardship, we bond. These hardships fueled Essential being created.<br>
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<b>VI. What made you decide to re-record and include an updated version of "Bottomless Pit" from 1994's Stick Your Neck Out across Essential?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> "Bottomless Pit" is one of my favorite songs. With Pete Mittler as our bass player, everything we played became better. All our songs had evolved and we wanted to showcase who we are now. We, also, initially thought our masters to Stick Your Neck Out & Heavyweight were destroyed. This pushed us to re-record the old songs (later, found out the masters are not destroyed, but still don't know where they are...) I think that the new version is amazing. Don't get me wrong, the original has its place, but this is where we are now.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2378835402/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2633631563/transparent=true/" seamless><a href="https://thebollweevils.bandcamp.com/album/history-of-the-bollweevils-part-i">History Of The Bollweevils Part I by The Bollweevils</a></iframe></center>
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<b>VII. How did you guys ultimately end up deciding to join forces with Red Scare Industries to unleash Essential?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> Red Scare is an amazing label. Ken [Fitzner] was shopping the demos of the record around and sent them to Toby [Jeg]. Toby, years ago, said he "would never put out a record by The Bollweevils." Ken wanted to prove home wrong, haha. The truth is, Toby & <a href="https://www.discogs.com/artist/1295662-Brendan-Kelly-3">Brendan [Kelly]</a> both were stoked to put out our record when we presented it to them. Brendan has been a friend for a long time and has such a love for us and our role in the Chicago Punk scene, he made it a priority to put out a record by us. I love Toby & Brendan. Love the bands on the label. Love that we can all hang [out] and input is heard. Love Toby's honesty and work he puts in for the label. He really knows how to take care of the comrades on Red Scare. Plus, it's fun! And life is so much better when it's fun.<br>
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<b>VIII. How has it felt being together again in The Bollweevils since reuniting in 2006? What feels different (or even the same) this time around compared to your original tenure together?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> With our growth and maturity, this all feels like we are just getting better with age. I think we had a missing puzzle piece that was filled with Pete Mittler & Pete Mumford that made us into a better band. I am having so much fun this time around. The original tenure was all discovery, new experiences, and lots of immature behavior. It was fun, as well, but this time around, it's just so much better. I couldn't see myself doing this with anyone besides Ken, Pete, and Peter.<br>
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<b>IX. What made you decide to name your long-awaited return to form, Essential? What is the significance or intended meaning behind this title choice?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> With The Pandemic, the look at essential workers was brought into the spotlight. Many of us in the band happen to be essential workers, so that hits at the most basic level, but the idea of Essential goes beyond the workers; it hits all of us being "essential" to each other to make the world work. Family is essential. Your neighbor is essential. Music is essential. We need each other to keep the wheel of life turning. This record was essential for us to make and I think it's essential listening.<br>
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<b>X. If you could book your dream mixed bill with bands past and present, currently active or inactive, who would it include (along with The Bollweevils) and why for each?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> This one is difficult because you didn't give a limit on bands, haha! Okay, I will limit the bands and not make it a festival show...<br>
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The Descendents - because they are one of my favorite bands, have had such an influence on me, and I love each member. Milo [Aukerman] made me know for certain that I could be a physician and still play in a Punk band.<br>
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Bad Religion - also, one of my favorite bands and influences. Once again, doctors in Punk. Lyrically, one of my favorite bands. They can do no wrong in my book.<br>
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Naked Raygun - our heroes, mentors, and friends. If it wasn't for Raygun, there would be no The Bollweevils.<br>
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The Germs - I know it's impossible to bring people back from the dead, but this band was one of the bands that got me to fall in love with Punk Rock. The Angry Samoans - my first love that turned me into a Punk.<br>
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The Circle Jerks – Keith [Morris] is my hero. I want to grow up to be just like him. Still killing it and not showing a sign of slowing down. Group Sex is one of my favorite records.<br>
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<b>XI. The Bollweevils have released splits with 88 Fingers Louie (Rise Against, Alkaline Trio,) The Freeze, Pete Mumford's The 4-Squares, Sleepasaurus, Ripcordz, and more. Who else would you still like to do a split in collaboration?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> Any of the bands I listed for my dream show would be bucket list. PEARS would be sweet, [The] Bouncing Souls, SAMIAM, Face to Face, [The] Suicide Machines, Brutal Youth, Bad Cop/Bad Cop, The Copyrights, The Lawrence Arms, and... this is just going to turn into a list of bands, so let me just say we are open to collaborate!<br>
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<b>XII. What's planned next for The Bollweevils?</b><br>
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<font color="red"><b>Dr. Wilson:</font></b> Working on new songs (it won't take 28 years next time, haha.) Ken has three new ones he is bringing to rehearsal. We have some shows coming up: August 12th with <a href="https://www.bandsintown.com/e/1028610255-adolescents-at-haven-city-market">The Adolescents</a> (one the first bands that got me into Punk, as well) out in California. We have <a href="https://thefestfl.com/">The FEST</a> in Gainesville at [the] end of October. Playing two sets! Working on a video for "Galt's Gulch" from Essential. Some more stuff is planned, so keep it locked in on our socials and keep listening to Essential.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-45493186336364607642023-06-23T09:09:00.001-07:002023-06-23T09:09:23.837-07:00The Color Fred's Fred Mascherino & SUM 41's Frank Zummo Join Forces for New Positive Anti-tech Single "Be Here Now" (Heading East Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4SEZxRCsGbIHBAQud2EJsk-oUAp5pbAS57wiDU4vbzCwvQ2Jrl19cX23bMrab4nzs3G1gnxNlWovdeHvPbxQZSi3jTa7n2fBlBMzooxZBAj4NKykcgXMhlPhYgHiAm9h9ScKDipetfEaveMsWD3d1AJgkDTvxE4e6eB-7ogodLrzykPo8HNS0LUd97oj/s1900/unnamed%20%282%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4SEZxRCsGbIHBAQud2EJsk-oUAp5pbAS57wiDU4vbzCwvQ2Jrl19cX23bMrab4nzs3G1gnxNlWovdeHvPbxQZSi3jTa7n2fBlBMzooxZBAj4NKykcgXMhlPhYgHiAm9h9ScKDipetfEaveMsWD3d1AJgkDTvxE4e6eB-7ogodLrzykPo8HNS0LUd97oj/s620/unnamed%20%282%29.jpg"/></a></div></center><b><i><small><font color="purple">Fred Mascherino & Frank Zummo (photographer unknown / SOURCE: Night Owl Public Relations)</b></i></small></font><br>
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Distinguished song-writer and guitarist Fred Mascherino (ex-Taking Back Sunday, <a href="https://consequence.net/2023/04/say-anything-psyche-stream/">Say Anything</a>, The Color Fred) and prominent drummer Frank Zummo (SUM 41, Street Drum Corps, Mötley Crüe) have teamed up for a song collaboration. Their mesmerizing Indie Rock anthem, "Be Here Now," sees a world-wide release today, via Mascherino's very own Heading East Records. "'Be Here Now" is about the challenge of staying in the present moment," explains Fred Mascherino. "Something that's hard to do with today's technology. Our phones remind us of what's coming up and we re-live the past in our constant posting. But to unplug and appreciate where you are right now, by giving your full attention to the person in front of you or by giving yourself time to relax and process life, can be a really powerful action."<br>
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In late 2020, after a year of confined song-writing through Zoom calls, Mascherino decided it was time to venture into the world again. He traveled from his East Coast home near Philly and headed to California with a list of friends, acquaintances, and heroes he hoped to write with. On the shortlist was drummer Frank Zummo, who he noticed had been releasing a slew of collaborative singles for his solo project. "Frank is an amazing drummer and I saw his <a href="https://www.altpress.com/frank-zummo-eote-premiere-interview-dying-in-designer/">video</a> where they filmed him playing drums underwater," recalls Mascherino. "I definitely wanted us to do something together. I arranged to go to his house near Los Angeles. He had a great drum room where we could jam and work things out."<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg03J1YM_GxWCN-YI79mFvU_IjmZFiQiS6PtlWJ03n3-Dnkc6Gw05gizjXTzLBLGcS5PI35ow68UKO0jMAaOl3zx2zzGvWlii-mYRwulkIvK3O9cMjfhHN3zW7mb2N29K7AT3GegptEWwsTwUmb19hnAlKrn9R7YbXPJ7YNJosJJ6LI8AnX8sJZNnWwuLKf/s1900/354572222_926609845092180_4919243357934286528_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg03J1YM_GxWCN-YI79mFvU_IjmZFiQiS6PtlWJ03n3-Dnkc6Gw05gizjXTzLBLGcS5PI35ow68UKO0jMAaOl3zx2zzGvWlii-mYRwulkIvK3O9cMjfhHN3zW7mb2N29K7AT3GegptEWwsTwUmb19hnAlKrn9R7YbXPJ7YNJosJJ6LI8AnX8sJZNnWwuLKf/s620/354572222_926609845092180_4919243357934286528_n.jpg"/></a></div></center><b><i><small><font color="purple">Frank Zummo & Fred Mascherino - "Be Here Now" single cover, version #1 (SOURCE: Night Owl Public Relations)</b></i></small></font><br>
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Apparently, the feeling was mutual, Zummo adds, "when you get in a room with another pro like Fred, he's gonna push you to do your best playing and as long as we can get on the same page with the goal, the results can be magical." The two spent the day writing and recording some rough drums at Frank's place. They kept talking and working on the song over the next couple of months. Fred explains, "I took Frank's drum tracks home to record guitars and vocals at my <a href="https://diverdownstudios.com/">studio</a>. Then, sent those back to Frank, who re-tracked his drums in a proper studio." The result was an uplifting anthem that cautions: "be here now, 'cause we're lucky we're alive. Put down every last device and be here now."<br>
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"I remember Frank saying he wanted to make sure the lyrics stayed positive," Mascherino recounts. "I knew we could be friends at that point because that's where my head was at, too. After months of being stuck at home, I was ready to be happy again. This song is a statement of self-appreciation and gratitude." Zummo claims, "I wasn't sure if this song would end up on my record or Fred's record, but I knew we had something special. I'd play all my new material for my wife and this one always stood out as a song with real depth." It's no secret that Frank & Fred are both highly regarded players on their instruments. Both have a long history of playing in the scene's top bands.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifqadj0STOgljDf3RnV2npOEb6h3LfIXQhFkzmBp8gtdtxBXiC0HZcd_7x_PqgeuLnVV3pXOa_teahZUnDoHU6dWJdvgWqaNXlQe2mbPuYAlKhg1tpn2fdUPA2L0HmOe_Jmc1SGrjAArR2oWKAFCWY_E1UXPkYa8C2d3j2l_OdccRTCn62vAhuyNTv_4pf/s1900/355104472_10159841042523246_5739989088823390285_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifqadj0STOgljDf3RnV2npOEb6h3LfIXQhFkzmBp8gtdtxBXiC0HZcd_7x_PqgeuLnVV3pXOa_teahZUnDoHU6dWJdvgWqaNXlQe2mbPuYAlKhg1tpn2fdUPA2L0HmOe_Jmc1SGrjAArR2oWKAFCWY_E1UXPkYa8C2d3j2l_OdccRTCn62vAhuyNTv_4pf/s620/355104472_10159841042523246_5739989088823390285_n.jpg"/></a></div></center><b><i><small><font color="purple">Frank Zummo & Fred Mascherino - "Be Here Now" single cover, version #2 (SOURCE: Facebook)</b></i></small></font><br>
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Hearing these two Punk/Indie Rock vets together for the first time gives us fresh new sounds that could've been mash-ups of our favorite artists from the past. <a href="https://distrokid.com/hyperfollow/frankzummoandfredmascherino/be-here-now?fbclid=IwAR0dULBiDe-ijrxurj7Rgp5xEwOh9lBfy5FNL3xsKTnoTulj8GHRM-YroGo">"Be Here Now"</a> is now available worldwide today, June 23rd, across digital streaming platforms, via <a href="https://www.headingeastrecords.com/">Heading East Records</a> under both artists' names collaboratively. In addition, the all-star duo will be performing the song at Emo Nite at Webster Hall in New York City this Saturday, June 24th. Both Fred Mascherino & <a href="https://linktr.ee/frankzummo">Frank Zummo</a> will soon be headed out on tour with their respective bands, The Color Fred/Say Anything and SUM 41/solo and plan to release more new music later this year or early next.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN22n2XxPiT09fGwS94eCNk7igFPgWyd41HGwRYdWrM6EVpYqwgll_cOgQQY0MenMC-C9BiVsm0Z7G7EOUHJytkkKoUv-HWacbpeD-AlHQUjc7-jD9rPLlaZ0H5zgHT_ZHOE8q3xLBVtGjAtENWWzITPF78a1SIoOL3NMOxHI2TKmxldMvdYQT87ub1_F6/s1900/Untitled%20%28EDIT%29.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN22n2XxPiT09fGwS94eCNk7igFPgWyd41HGwRYdWrM6EVpYqwgll_cOgQQY0MenMC-C9BiVsm0Z7G7EOUHJytkkKoUv-HWacbpeD-AlHQUjc7-jD9rPLlaZ0H5zgHT_ZHOE8q3xLBVtGjAtENWWzITPF78a1SIoOL3NMOxHI2TKmxldMvdYQT87ub1_F6/s620/Untitled%20%28EDIT%29.png"/></a></div></center><b><i><small><font color="purple">Emo Nite at Webster Hall flyers (SOURCE: Night Owl Public Relations / Facebook)</b></i></small></font><br>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-47208153974201675162023-06-20T08:51:00.004-07:002023-06-23T08:51:23.735-07:00DIVIDED HEAVEN Share Acoustic Punk Cover of Descendents' "Clean Sheets" with German Singer-songwriter Matze Rossi (A-F Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0YiZ_ERXVS8d72XkJJOOHtcdVZedyL45hlW1IFMlVPRaSGm0j58iuXRbo-6-b6et3P3GT_ESpWCxrazdTLXg4x_eJQdLhVW-4qQASVgCgg__GbLyjX_vEGqyCvm5NAKQG4qOQbWo2IRS2aCZH_XMypn9dcqft1G56TIPHwNFfQpx5mRvtXo3qaymwnZZ/s1900/339977245_604234871337628_6987387740016812958_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0YiZ_ERXVS8d72XkJJOOHtcdVZedyL45hlW1IFMlVPRaSGm0j58iuXRbo-6-b6et3P3GT_ESpWCxrazdTLXg4x_eJQdLhVW-4qQASVgCgg__GbLyjX_vEGqyCvm5NAKQG4qOQbWo2IRS2aCZH_XMypn9dcqft1G56TIPHwNFfQpx5mRvtXo3qaymwnZZ/s620/339977245_604234871337628_6987387740016812958_n.jpg"/></a></div></center><b><i><small><font color="teal">DIVIDED HEAVEN in Baltimore, Maryland (photographer unknown / SOURCE: Facebook)</b></i></small></font><br>
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We're one day away from the official start of summer, so let's kick things off with a cover of one of the greatest Descendents songs ever written. DIVIDED HEAVEN and German singer-songwriter Matze Rossi have just released a stripped down version of "Clean Sheets" that will leave you feeling a bit more tender. Rossi's raspy howl plays wonderfully with DIVIDED HEAVEN founder Jeff Berman's voice as they belt out a song that has become part of the pantheon of Punk music. Said cover really captures the spirit of singing your favorite songs with all of your friends. You know, the moment at a party or a show where everyone knows every word and can't help but sing at the top of their lungs. It's a special kind of moment reserved for a special kind of song and "Clean Sheets" is just that kind of song.<br>
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<center><iframe width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1512787102&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/dividedheaven" title="Divided Heaven" target="_blank" style="color: #cccccc; text-decoration: none;">Divided Heaven</a> · <a href="https://soundcloud.com/dividedheaven/clean-sheets-feat-mate-rossi" title="Clean Sheets (feat. Matze Rossi)" target="_blank" style="color: #cccccc; text-decoration: none;">Clean Sheets (feat. Matze Rossi)</a></div></center>
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Just this past Friday, DIVIDED HEAVEN & Matze Rossi's cover of "Clean Sheets" was premeired on <a href="https://chorus.fm/features/divided-heaven-clean-sheets-song-premiere/">chorus.fm</a>. Check out their beautiful cover of "Clean Sheets" now on all of your preferred streaming platforms. "I heard Bill Stevenson say that he wrote "Clean Sheets" in one swoop. It just came to him. About 10 years ago, I was working on a riff that sounded too familiar; took me a moment, but I soon discovered it was "Clean Sheets." The lyrics immediately came to me and it just felt right. My favorite Descendents song, "[Clean] Sheets" beautifully translates to the acoustic guitar. Add a pinch of tenderness and the incredible, incomparable, Matze Rossi, and this classic Punk song resonates in a new beautiful darkness. Much love to Bill for writing it, Stephen [Egerton] for being my favorite guitar player, and to all that give it a listen. Thank you!," Berman writes within a Facebook post.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/PaCCp4fQ3kk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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So, without further ado, listen to their cover of "Clean Sheets" by Descendents. The Clean Sheets digital EP showcases the title track, along with recent singles "Beause You're Young" with Jared Hart, "Tomoe (American Heart,)" "The New Hallelvjah" with Sam Russo (<a href="https://www.discogs.com/master/1223634-Tear-Down-The-Cockpit-Door-Demo-Tape">Tear Down The Cockpit Door</a>,) a stirring rendition of Cyndi Lauper's <a href="https://www.youtube.com/watch?v=Ee5rlzz6Zk0">"Time After Time"</a> with Tiny Stills, and a charasmatic cover of The Beatles' "Eleanor Rigby." It's rounded out by "The White Rose," "Generator," and "Lifers," which were all previosuly released in 2017, 2018, and 2019, respectively. Last year, DIVIDED HEAVEN released their ambitious fourth full-length, fittingly dubbed <a href="https://dividedheaven.bandcamp.com/album/oblivion">Oblivion</a>, on A-F Records. The album includes guest appearances and tracks produced by Charlie Stavish (Ryan Adams, Against Me!,) Tim van Doorn, Mike Biancaniello (Kelly Clarkson, Shawn Mendes,) and UK Folk/Punk powerhouse Frank Turner.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/ol9tNFbOjtI" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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It's an eclectic mix of Pop, Folk, and Indie Rock all wrapped in a Punk mindset with soaring production quality. Oblivion is, also, available on all digital platforms and physical copies can be purchased from both <a href="http://a-frecords.limitedrun.com/categories/divided-heaven">A-F Records</a> (US/Canada) and <a href="https://gunnerrecords.com/produkt/divided-heaven-oblivion-lp/">Gunner Records</a> (UK/Europe.) Berman has not made it easy on himself. For the past 12 years, the DIVIDED HEAVEN frontman has tried relentlessly to buck the typical singer-songwriter mold with his unique writing style and career path. The new DIVIDED HEAVEN album, Oblivion, blazes that ambition forward with a bang, a dash of weird, a pinch of S*tanism, and a heavy dose of sex and politics resulting in an unapologetic and provocative DIVIDED HEAVEN album like none before.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdEBoobOXumjn2ncIjU6XlGCEVJf89xE_1jxm_QA7wOxE2rKkPN2o2pn_-YvpFNWT-msGQMhHhdXOjvj_HrHjjdEDfrfFUt45fkryc7darkO7IwxBf-9nzOHw6Jul_RQ3RKVYvqCyFPHk5t8_riknv1AYgGdaiTxLgJVbJEvQteBDxuB3GmoJqKFTbXF-t/s2000/R-629041-1140618526%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdEBoobOXumjn2ncIjU6XlGCEVJf89xE_1jxm_QA7wOxE2rKkPN2o2pn_-YvpFNWT-msGQMhHhdXOjvj_HrHjjdEDfrfFUt45fkryc7darkO7IwxBf-9nzOHw6Jul_RQ3RKVYvqCyFPHk5t8_riknv1AYgGdaiTxLgJVbJEvQteBDxuB3GmoJqKFTbXF-t/s720/R-629041-1140618526%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="teal">Descendents' "Clean Sheets" B/W "Coolidge" 7-inch radio promo single (SOURCE: Discogs)</b></i></small></font><br />
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Either solo or with his full band in tow, DIVIDED HEAVEN is just as comfortable on festival stages at Punk Rock Bowling, SXSW, and The Fest as they are in the seated listening-rooms of Hotel Cafe or The Ramones Museum. Berman and DIVIDED HEAVEN have shared stages with Dave Hause, Matze Rossi, Anti-Flag, Ryoko, Spanish Love Songs, Slingshot Dakota, Jared Hart, The Flatliners, Sundowner, Tiny Stills, and many more. Berman has previously played in Philadelphia Street Punk/Oi! band The Boils, New Jersey Hardcore band The Rites, Washington, DC band V.P.R., and Lancaster, Pennsylvania Rock "N" Roll band The Statiks. DIVIDED HEAVEN's <a href="https://open.spotify.com/album/3e1jItOxt31yIJbur6Gl2p">Clean Sheets</a> EP is now available on streaming services through A-F Records.<br>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-15164643626951836462023-06-15T21:29:00.012-07:002023-06-21T11:59:15.538-07:00Coolie Ranx of The Toasters, Pilfers & Grand Theft Auto IV Discusses His Debut "Raggacore" Solo Album Days Gone By (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2t2Bmzrjk6rkLQnslA35Ldbh0lzxDtcQtH23ecbHjejt0LB58L4HD5iPsqF9Ulu35KdPcclDSAmrcXn-OlpBLS3fAmXtoxO5GNggaGy_AuVALJy_FGH8G8Qgrj_MOPHhPYBtpZUwwxP-aUbCE4R4Gl_KYTNlOCG9QWNljb_YXJhPwfAzFMt1sILBPfw/s1900/Coolie%20Ranx%20with%20Mural%20%28black-and-white%29%20_%20EDIT2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2t2Bmzrjk6rkLQnslA35Ldbh0lzxDtcQtH23ecbHjejt0LB58L4HD5iPsqF9Ulu35KdPcclDSAmrcXn-OlpBLS3fAmXtoxO5GNggaGy_AuVALJy_FGH8G8Qgrj_MOPHhPYBtpZUwwxP-aUbCE4R4Gl_KYTNlOCG9QWNljb_YXJhPwfAzFMt1sILBPfw/s620/Coolie%20Ranx%20with%20Mural%20%28black-and-white%29%20_%20EDIT2.jpg"/></a></div></center><b><i><small><font color="blue">Coolie Ranx (photographer unknown / SOURCE: Facebook)</b></i></small></font></center><br>
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Coolie Ranx (born Obi-Ajula Ugbomah) is well-known for his work within the New York City Ska scene and beyond. Starting in the very early 1990's, he was the frontman of New York City's own The Toasters, who were instrumental in getting Ska on the map in America. The Toasters, also, formed <a href="https://www.discogs.com/label/35402-Moon-Ska">Moon Ska Records</a>, which became the homebase for a multitude of the Ska bands that nurtured the 1990's Third Wave Ska revival. He departed The Toasters in 1997 and went on to start his own band, Pilfers. Through Pilfers, Coolie created an infectious and unique sound aptly named Raggacore, which seamlessly blended Pop, Reggae, Dub, Hardcore, Punk, and Ska in a rugged, hard-hitting energy. Coolie Ranx has continued to work within the scene as a collaborator and solo artist, well-known for his pinpoint precise chat skills, effortless genre-blending prowess, and soaring melodic vocal delivery.<br>
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Coolie Ranx has appeared on releases alongside the likes of Big D & The Kids Table, Catch 22, The Doped Up Dollies, Eastern Standard Time, Reel Big Fish, Sonic Boom Six, Spring Heeled Jack, and more. Ranx is also widely-known as the voice of Little Jacob from groundbreaking 2008 video game, Grand Theft Auto IV. Coolie Ranx has toured the world with The Toasters, Pilfers, and/or solo in direct support of CATBITE, Five Iron Frenzy, Goldfinger, Joystick, Monkey, Mustard Plug, The Pietasters, The Slackers, SOJA, Soul Brains (otherwise known as Bad Brains,) Suburban Legends, The Suicide Machines, and Westbound Train. 2023 ushered in the release of several singles as part of an upcoming solo Raggacore release. Said full-length album, <a href="https://coolieranx.bandcamp.com/album/days-gone-by-2">Days Gone By</a>, is now available on digital streaming platforms. We had the unique opportunity to conduct a comprehensive interview, via email, with Coolie Ranx himself. Check it out below lightly edited for general cliarity.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=719918711/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=461247107/transparent=true/" seamless><a href="https://coolieranx.bandcamp.com/album/days-gone-by-2">Days Gone By by Coolie Ranx</a></iframe></center>
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<b>I. What can you tell us about the sounds, styles, and themes that can be heard across your latest solo release, Days Gone By?</b><br>
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<font color="green"><b>Coolie Ranx:</font></b> The sound is a natural blend of the sounds I grew up [listening to] as a British-born Nigerian and Jamaican kid living in New York City. Heavily influenced by the urban streets, sound of Brooklyn, NY, and influenced by good old [crunchy] Rock guitars from bands like Manyaka (Brooklyn-based [Reggae]/Rock band) and Roots Reggae and Dancehall music. My Pop sensibility is influenced by my love for Pop song-writers of all genres. Themes range from lost love, found love, looking for love in mankind, [and] seeking reasons for doers of evil.<br>
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<b>II. Would you mind briefly telling us a bit about the writing, recording, production, creation, etc. processes that went into making Days Gone By?</b><br>
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<font color="gold"><b>Ranx:</font></b> This is what this record is about: an [introspective] look and journey of parts of my life. So, writing this [was] easy once I [was] alone with my true self. The recording, production, creation process spans several years and several different musicians' studios [with] different versions of the same [songs]. Until it, actually, jelled to be what it is now, production expanded from New York, DC, [and] Massachusetts to Kingston, Jamaica, [and The] West Indies.<br>
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<b>III. Who or what would you readily cite as some of your greatest sources of inspiration and influence while creating Days Gone By?</b><br>
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<font color="red"><b>Ranx:</font></b> I would [cite] my life in Brooklyn, NY and my life in London, England, which inspired me to write Days Gone By. I love artists like Seal, Sade... I love Dennis Brown, Barrington Levy, [and] all of the artists that graced Saxon Sound System out of The UK. Alon Ellis, Delroy Wilson, Al Green, Lenny [Kravitz], and so many more.<br>
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<b>IV. Aside from or in addition to yourself, who else contributed to the making-of the record?</b><br>
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<font color="green"><b>Ranx:</font></b> I have Ali Coulotta from Stop The Presses. She sang on "Incredible," sang back-up vocals, and she, also, sang and played keyboards on "Show You" and sang back-up vocals. [And she] played keyboards on "My Surroundings." I had The Doped Up Dollies sing on "Jenny Jen Jen." I had Kevin Bachelor of Grand Concourse, [The Skatalites], Steel Pulse, and so many other bands play trumpet on "My Surroundings." <br>
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Karen Gibson Roc [supplied] spoken [word poetry] on "My Surroundings." There were quite a few musicians that contributed in many ways; whether I was directly working with or [just] spoke [with them]. Playing drums and bass on all tracks, you have Phil Wartel and Steve Cappeci on bass, on most of the guitars, you have Jonathan Uda, Kevin Bachelor played trumpet, and Gilberto Covarrubias played trombone.<br>
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<b>V. How would you say your personal musical style and sound has grown and evolved since your days playing with The Toasters & Pilfers?</b><br>
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<font color="gold"><b>Ranx:</font></b> Well, that I would say from being in The Toasters it fostered my ability to express myself better musically. 'cos there is a language I wasn't [privy to] until I joined The Toasters. By the time I started [The] Pilfers, I was able to [communicate] my desires. Musically, I have always [ventured beyond] my surroundings; I am a sponge to good music regardless of the genre.<br>
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<b>VI. How did you come to first meet <a href="https://www.discogs.com/artist/301549-The-Toasters">The Toasters</a> lead singer and guitarist Robert "Bucket" Hingley and come to, ultimately, join The Toasters yourself?</b><br>
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<font color="red"><b>Ranx:</font></b> I had a record playing on the major Urban stations in NYC. By chance, Katherine Tobias heard it. At the time, she was Shinehead’s manager and, I believe, they parted ways and I was and we had [similar] styles. She [sought] me out and brought me from Brooklyn into The City. One of the business opportunities she presented with me after coming to our camp in Brooklyn and hearing my various musical projects [was meeting with The Toasters]. She sort of "dared" me to join them due to the many different styles of music she heard in the studio.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/Jjft4i-lCTQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>VII. What can you tell us about the formation of <a href="https://pilfers.bandcamp.com/album/chawalaleng">Pilfers</a> in 1997 shortly after you left The Toasters?</b><br>
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<font color="green"><b>Ranx:</font></b> Starting [The] Pilfers after I left The Toasters was a lesson of not giving up. I had some musicians that didn't know Ska and finding the right musicians turned out to be paramount.<br>
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<b>VIII. How would you attempt to best describe the then-new hybrid musical style you helped created and coin as part of Pilfers with Raggacore?</b><br>
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<font color="gold"><b>Ranx:</font></b> Well, it's pretty much its own thing as we [blended] all these different genres [to] make the genre of Raggacore. If you have ever [listened] to a Pilfers record, you have [heard] several genres [seamlessly] blended into one song. It can be slow or fast.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/uwX4dNKPTpE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>IX. When and where were you when you got the call to do voiceover work for <a href="https://gta.fandom.com/wiki/Little_Jacob">Little Jacob</a> for iconic 2008 video game, Grand Theft Auto IV (GTA IV)? Do you still get recognized out on the street for supplying his voice?</b><br>
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<font color="red"><b>Ranx:</font></b> At the time, I was living in The Bronx. I had recently bought a house in Little Italy, Bronx and I received the script from a friend of mine, who was working [as] a music supervisor [on] the project. At the time, I wasn't informed that it was, indeed, GTA IV. He called me, as he has done in many times, to come and [audition,] as acting has been a big passion for me before music. To be honest, recognition comes by way of me being in a room and someone [saying,] "he's Little Jacob from GTA IV" and, then, the fanfare starts.<br>
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<b>X. Over the years, you've done memorable guest features for everyone from Big D & The Kids Table to Catch 22. What were some of your favorite such features to record and/or contribute to?</b><br>
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<font color="green"><b>Ranx:</font></b> Big D [& The Kids Table's <a href="https://www.youtube.com/watch?v=EqXHUnk8eHk">"Put It In A Song"</a>] is [definitely] one of those moments. <a href="https://www.youtube.com/watch?v=tMfK02Xtve0">Catch 22</a>, another [one I'm] grateful for the call. The Pietasters, Sonic Boom Six, Spring Heeled Jack, Metro Stylee, Eastern Standard Time, and Reel Big Fish. Sonic Boom Six would be "a big deal" because it almost didn't happen. Reel Big Fish because they sent the track and said, "go! It's yours," and the second one was suggested while I was in the studio.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=4177255790/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3796999326/transparent=true/" seamless><a href="https://pilfers.bandcamp.com/album/chawalaleng">Chawalaleng by Pilfers</a></iframe></center>
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<b>XI. Would you mind telling us a bit about some of the music you're listening to these days? What would you recommend our readership go look up and check out?</b><br>
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<font color="gold"><b>Ranx:</font></b> Today, I am listening to a variety of music: <a href="https://soundcloud.com/markumusic">Mark U Music</a>. He's a rapper from Brooklyn; happens to be [amazing] and [I'm] listening to a singer from [Trinidad]. Her name is <a href="https://empresskushofficial.com/music">Empress Kushite</a> and Carlton Livingston.<br>
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<b>XII. What's planned next for your solo career, as well as potential collaborations with both The Toasters & Pilfers?</b><br>
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<font color="red"><b>Ranx:</font></b> Well, The Toasters, I have offered to record with them again. If that happens, only time will tell. Solo, I recorded a few collaborations records already with some of the bands you [mentioned] already. I will address those and release them on the next solo project or the next solo project afterwards.<br>
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I would like to add besides the musicians I mentioned, I would like to say this record wouldn't sound as good without the aid of a producer/musician by the name of Computer Paul Henton, the mixing skills of John Aliva of Oingo Boingo, and the mastering powers of Ian Sefchick; this has to be stated, as I took the music as far as I could go. The keyboard sounds couldn't have been arrived at without Computer Paul Henton in Kingston, Jamaica. He played over guitar parts, bass parts, and rhythm guitar and laid down tasty keyboard sounds.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-25306164187773674632023-06-09T11:26:00.000-07:002023-06-09T11:26:08.349-07:00CATBITE & Brian Fallon Join Forces As The Slacures to Cover The Slackers' "Yes, It's True" On The Chris Gothard Show & Flexi-disc 7-inch (Bad Time Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRF1rsDzAX_1VFAm2iKKUZ-6z8Iqz24PNpwwyfAloLScnCSPDhqdLFQuA5P7j_t-7Fu6HfxMxmFgdt_Fr-wDdf5BzYhpRkuEcnBehZqSyS-VNey_ufOd061_olYpUPTxpCPGNqTWZg8bP35mSSiBFS19kJnxbWcyL_73Ch_fOMuJFAs6sBhdnk6Pya4w/s1900/352722327_984796532728592_5695129068251868061_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRF1rsDzAX_1VFAm2iKKUZ-6z8Iqz24PNpwwyfAloLScnCSPDhqdLFQuA5P7j_t-7Fu6HfxMxmFgdt_Fr-wDdf5BzYhpRkuEcnBehZqSyS-VNey_ufOd061_olYpUPTxpCPGNqTWZg8bP35mSSiBFS19kJnxbWcyL_73Ch_fOMuJFAs6sBhdnk6Pya4w/s620/352722327_984796532728592_5695129068251868061_n.jpg"/></a></div></center><b><i><small><font color="red">CATBITE & Brian Fallon Are The Slacures (CREDIT: MO @phobymo)</b></i></small></font><br>
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"We never got to make it to the legendary Chris Gethard Show, so we decided to create our own Goth alternate reality and create The Chris Gothard Show!," CATBITE (@catbiteband) shared within an <a href="https://www.instagram.com/p/CtMW3JIus80/?hl=en">Instagram</a> post earlier this morning. The four-piece Philly-based Ska band had been teasing something called The Slacures for a number of days; posting "coming 6/9 😈. Subscribe to or YouTube channel for first dibs, link in bio," a number of days ago. Alright, so all of this finally materialized together earlier this morning as a CATBITE & Brian Fallon (The Gaslight Anthem, Molly & The Zombies, The Horrible Crowes) together as The Slacures covering The Slackers' "Yes, It's True" written by vocalist, multi-instrumentalist, and producer Vic Ruggiero from their 1998 album, <a href="https://theslackers.bandcamp.com/album/the-question-25th-anniversary-edition">The Question</a>.<br>
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So, CATBITE & Fallon created The Slacures—see what they did there, The Slackers + The Cure = The Slacures—made up their own alternate reality version of the now-defunct truTV show, <a href="https://www.imdb.com/title/tt4877562/">The Chris Gethard Show</a>, obviously, dubbed The Chris Gothard Show. To commemorate this whole Gothy, ridiculious, and monumental occasion, California Ska label Bad Time Records pressed up a limited edition flexi-disc vinyl, made a super-limited edition The Slacures T-shirt, and, of course, the doomy and gloomy music video. "And if you're asking, "what the f*ck are The Slacures?" and "why did you spell Chris Gethard's name wrong, you dum dum?" then, you should really go watch the video," Bad Time Records wrote within a press release.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi88e7pNHaUm3dkVPCg3rt567j3k-k7lC8hsvLyuvWm5ym1zHXllKKqpR_nBXLekGMktHWi6IcpLUStDWnANKi9-VSnD5qirIFCCXLQZG33y2atix99ED-swFKLq5PNKfRq3zaGnv-6qRE7ZZQS6oPLT4BVdcC6KZ4jwVPliiRqykxNrFV1fBrWC34QGA/s2000/CATFLEXI%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi88e7pNHaUm3dkVPCg3rt567j3k-k7lC8hsvLyuvWm5ym1zHXllKKqpR_nBXLekGMktHWi6IcpLUStDWnANKi9-VSnD5qirIFCCXLQZG33y2atix99ED-swFKLq5PNKfRq3zaGnv-6qRE7ZZQS6oPLT4BVdcC6KZ4jwVPliiRqykxNrFV1fBrWC34QGA/s720/CATFLEXI%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="red">CATBITE & Brian Fallon "Yes, It's True" single and The Slackers The Question album covers (SOURCE: Facebook / Bandcamp)</b></i></small></font><br>
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So, there are just 1,000 copies of the CATBITE & Brian Fallon "Yes, It's True" 7-inch round flexi-disc vinyl single with all proceeds supporting <a href="https://playonphilly.org/">Play On Philly</a>. Plus, these super-limited edition The Slacures T-shirts, which can easily be bundled with your flexi-disc, are only available for a week! I think I've said enough... but if you're (even just remotely) into CATBITE, The Gaslight Anthem/Brian Fallon, The Slackers, The Cure, and/or Chris <strike>Gothard</strike> Gethard, one or all three of these things are definitely something you should go check out while you still can. It's pretty cool guys like Brian Fallon and Chris Gethard are still interested in doing goofy, fun stuff like this. All of The Slacures merch is available from the <a href="https://www.badtimerecords.com/search?q=slacures&options%5Bprefix%5D=last">Bad Time Records</a> Store for a limited time. CATBITE & Brian Fallon... err, we mean, The Slacures' "Yes, It's True" is now available on digital streaming platforms, as well.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-75870402571416600512023-06-01T08:57:00.008-07:002023-06-01T12:51:28.500-07:00NOT's Davey Warsop On ALL, Descendents & New "Allular" Homage Stop The World In Tribute to Stewart Teggart (The Witzard Interview) <center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_oPh-iPND1KCPbjCkrkWIEVpABKVZM3IzLJgo5F3hWqkbWgOx41TkGRrZNczfBGKKsbNNcDwyBoSrf0X5ZQx490i61N0w_DxhIG_a-_1X9XLLB3fxRcEOsa1obPA_O18g5zddm_8B_x0i4xMaxJVtNypLu_makPhxqFrARrbZ6elr2WbYSI5uDNEP5A/s1900/NOT1%20%28black-and-white%20press%20shot%29.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_oPh-iPND1KCPbjCkrkWIEVpABKVZM3IzLJgo5F3hWqkbWgOx41TkGRrZNczfBGKKsbNNcDwyBoSrf0X5ZQx490i61N0w_DxhIG_a-_1X9XLLB3fxRcEOsa1obPA_O18g5zddm_8B_x0i4xMaxJVtNypLu_makPhxqFrARrbZ6elr2WbYSI5uDNEP5A/s620/NOT1%20%28black-and-white%20press%20shot%29.png"/></a></div></center><b><i><small><font color="purple">NOT, L-R: Kyle Whitmore, Brendan Scholz, Davey Warsop, and Jarred Cooper (SOURCE: Earshot Media, photographer unknown)</b></i></small></font><br>
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Descendents/ALL are now bands that have strongly infleunced and heavily affected generations of youthful, angsty fans. So, this si where it may get a bit confusing: Descendents & ALL are esentially the same band featuring slightly different, albeit similar line-ups. Descendents' most well-known and longest-standing line-up is singer Milo Aukerman, bassist Karl Alvarez, guitarist Stephen Egerton, and drummer Bill Stevenson. While ALL is Alvarez, Egerton & Stevenson with a rotating cast of beloved frontmen: Dave Smalley, Scott Reynolds & Chad Price and briefly functioned as <a href="https://www.discogs.com/master/306696-Tony-All-New-Girl-Old-Story">TonyALL</a> with the addition of bassist and song-writer Tony Lombardo (ex-Descendents.) For obvious reasons, Descendents, ALL & TonyALL have rarely ever ALL consistently functioned at the same time. It's safe to say Descendents' fourth and then-final 1987 album, aptly-titled <a href="https://www.discogs.com/master/29735-Descendents-All">ALL</a>, was the sheers genesis of ALL the band, as well as ALL the concept formulated by Bill Stevenson and his buddy, Pat McCuistion, years earlier in 1980.<br>
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Stevenson himself described the concept of ALL as, "a way of thinking, in which there are extremes and there is this goal called "ALL." It's a way that I created in dealing with achievement and satisfaction and how the two relate. Basically, just to avoid stagnation... going for "ALL" and never being satisfied and just wallowing in your own sameness" within a June 1987 interview. Stevenson has additionally described it as "the total extent" as oulined across the album through "All," "No, All!," and "All-O-Gistics." Aukerman has explained ALL as, "it's partly humor, but it's, also, an outlook on how to conduct your life: to not settle for some, to always go for ALL." In any event, Descendents are back together as a touring unit and most recently released a vaulted and unearthed album, 9th & Walnut, in 2021 primarily consisting of songs written between 1977-80. ALL have released eight studio albums, two live albums, a greatest hits/best of-style compilation, one EP, and one collaborative album with Tony Lombardo as TonyALL with Smalley, Reynolds & Price, respectively, between 1988-2001. ALL has been largely inavtive since 2008 aside from sporadic one-off shows, benefits, live appearances, and various performances with one of and/or ALL three singers.<br>
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So, ALL of this is an extremely long-winded way to pose the simplistic question: "what do you do when ALL stop making records?" You form a band with your friends and make your own! NOT, the group consisting of members of SHARP/SHOCK & Mercy Music have announced their debut album, Stop The World, now available digitally and on purple and light blue vinyl, via <a href="https://wiretaprecords.limitedrun.com/products/739443-not-stop-the-world-12-lp">Wiretap Records</a> (US,) <a href="https://brassneckrecords.bigcartel.com/product/brassneck-lp-6000">Brassneck Records</a> (UK,) and <a href="http://watersliderecords.net/?pid=174695998">Waterslide Records</a> (Japan.) Additionally, CD's and cassettes will, also, be available, via Paper + Plastick. NOT is the brainchild of singer/song-writer Davey Warsop, the LA-based British Punk known for fronting bands such as Beat Union, Suedehead, and SHARP/SHOCK. Warsop met guitarist Brendan Scholz and bass player Jarred Cooper (both of Las Vegas' Mercy Music) at a funeral, when their shared manager and Southern California Punk scene legend, Stewart Teggart, tragically passed away. Through a shared love of Pop-punk pioneers ALL & Descendents, the trio pulled in Kyle Whitmore on drums and decided to make a record dedicated to Teggart. It seemed fitting, as it was their late friend and mentor that made their lives cross paths to begin with.<br>
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Warsop & Scholz decided to combine forces exclusively for NOT, resulting in a powerhouse writing duo, like the Pop-punk Lennon/McCartney. Their debut album, Stop The World, contains 14 hyperactive, caffeine-fueled Pop songs boasting hook after hook choruses about love and heartache whilst battling wild guitar solos and frantic bass energy. To top things off, Stop The World wouldn't be a fitting tribute to the ALL/Descendents' D.I.Y. work ethic without it being self-produced. Since landing himself in Los Angeles, Warsop has been producing and engineering for the likes of Alkaline Trio, CATBITE, Face to Face, and Green Day. So, it makes sense that the record was tracked at Warsop's very own Strong Studios in Long Beach, California, with himself at the controls. The record was, then, mixed and mastered by Paul Miner (Agnostic Front, H2O, zebrahead.) In Warsop's own words, "so many musicians have unapologetically paid tribute to bands, like The Ramones or The Clash... it's about time someone did the same for ALL. We're just trying to fly that flag as proudly as possible." We recently got a chance to speak with Warsop himself about ALL things ALL, Descendents, now, NOT, and their debut album, <a href="https://ffm.to/5d0kbde?fbclid=IwAR2wCGhTzihMTl75-X8tEwKX0CoV-xED_d3dBxeP1Z04ZV6laa7aWtibpIU">Stop The World</a>. Check out our interview below, which has been lightly edited for general clarity.<br>
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<b>I. Who are the members of NOT and from which various projects might long-time fans know each of you?</b><br>
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<font color="teal"><b>Davey Warsop:</font></b> Davey Warsop: vocals (also, of SHARP/SHOCK and previously Suedehead & Beat Union,) Brendan Scholz: guitar (also, of Mercy Music,) Jarred Cooper: bass (also, of Mercy Music,) [and] Kyle Whitmore; drums [Better Than Bullets].<br>
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<b>II. What inspired you to create a project largely (or if only) directly inspired by Descendents and Descendents off-shoot band, ALL?</b><br>
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<font color="teal"><b>Warsop:</font></b> We've just all been massive fans since childhood. I met Brendan & Jarred over 10 years ago and produced a record by their old band, <a href="https://soundcloud.com/lydiavanceband">Lydia Vance</a>. We came to realize all of us were ALL & Descendents obsessives of a similar depth. Years later, I had the idea to make this project album and they were just the obvious people to work with. Brendan is heavily inspired by Stephen Egerton's guitar playing and I think Jarred is pretty much Karl [Alvarez's] stunt double.<br>
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<b>III. So, with that said, in addition to or aside from ALL/Descendents, what were some of your greatest sources of inspiration and influence while creating NOT's Stop The World?</b><br>
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<font color="teal"><b>Warsop:</font></b> I think ALL & Descendents definitely championed the "heart on sleeve love song" into Pop-punk. So, that was definitely our objective, at least, for a good handful of the songs—write about relationships past and present for catharsis and emotional therapy. Some of the songs touch on other [subjects,] too, though.<br>
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<b>IV. For fans who may be hearing about ALL/Descendents right now by way of NOT's Stop The World, where would you recommend they start delving into each band's expansive back catalog(s)?</b><br>
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<font color="teal"><b>Warsop:</font></b> For Descendents, it has to be <a href="https://www.discogs.com/master/29761-Descendents-Everything-Sucks">Everything Sucks</a> or <a href="https://www.discogs.com/release/1022602-Descendents-Somery">Somery</a>. For ALL, I would recommend their greatest hits [collection, Greatest Hits?!] (although, it's not on Spotify and probably out of print now—can we get a vinyl re-issue, please!?) and <a href="https://www.discogs.com/master/158549-ALL-Mass-Nerder">Mass Nerder</a>.<br>
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<b>V. What were the typical writing, recording, production, creation, etc. processes generally like that went into the making of Stop The World?</b><br>
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<font color="teal"><b>Warsop:</font></b> I wrote four or five of the songs years ago between 2012-2014. When COVID hit, I got in touch with Brendan, Jarred & Kyle to see if they wanted to get involved. So, during the Lockdowns, I began writing more songs. So did Brendan; the both of us began trading some ideas and co-writing over the phone, also. I pretty much always write on acoustic, so you can really focus on the basic lyrics/[chords] and melody of a song and really judge how "good" or "bad" it is in its rawest form. Once we had enough songs and normal life began resuming (slightly,) Kyle came down to my studio (Strong Studios) here in Long Beach, California and we worked on all the drum parts and got them tracked. Later on, Brendan & Jarred drove down from [Las] Vegas and we tracked their parts and slept about three hours in three days. We, actually, used the same guitar rig as Everything Sucks to try and get close to that tone. It’s very hi-mid-[focused], but something about that guitar tone seems to resonate with fans. So, that's what we went after, too. Finally, I got my vocals done later down the line. So, it was very much a long-distance project tracked bit by bit. We all felt a little burnt out by it all as it was such a lengthy process, so we passed it off to our mate, Paul Miner, to mix and master it.<br>
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<b>VI. Did you typically start out with a specific ALL album, song, theme(s), etc. as a starting off or springboard point when creating original songs and homages of your own?</b><br>
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<font color="teal"><b>Warsop:</font></b> We definitely made the production choice to try and sound like a "modern day" Everything Sucks... whilst musically leaning a little more towards ALL. A handful of songs, we definitely tried to tip the hat specifically to certain ALL or Descendents tracks, yes, but, sometimes, we just wanted to shoot for a more miscellaneous era of ALL, rather than a specific song. Some sound a little bit Scott [Reynolds], some, a little bit Dave [Smalley and], others, more Chad [Price] era.<br>
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<b>VII. How did you link initially link up with Wiretap (US,) Brassneck (UK,) and Waterside (Japanese) Records and what made you ultimately decide to go with each of them to jointly release Stop The World?</b><br>
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<font color="teal"><b>Warsop:</font></b> Rob [Castellon] at Wiretap [Records] has released a few records I've produced, so we had that connection. He has, also, worked with Mercy Music, so it was just a very obvious choice. Waterslide [Records] released a couple of bands I was in as a teenager. I'd lost touch with Kazu [Onigiri,] but, then, Scott [McLauchlan] at Brassneck [Records] re-connected those dots and got him on board. Scott is a big ALL & Descendents fan and was a believer in this record when it was just rough demos. The fact he had faith in the band when no one else did goes a long way with me. Work with the people that care about your music... don't force it with people that aren’t passionate. Speaking of—I've known <a href="https://www.youtube.com/watch?v=YtFDhe7EMRw">Vinnie [Fiorello]</a> (ex-Less Than Jake) from Paper + Plastick for years and worked on records for his label, also. So, he's gonna put out some CD's and cassettes, also.<br>
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<b>VIII. What is it specifically about Descendents/ALL that makes them so much more significant and influential than any other band(s) in the land?</b><br>
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<font color="teal"><b>Warsop:</font></b> I think their "heart on sleeve" lyrics always connected with me. And the extremely high level of musicianship. Also, [there's] just something very [signature] and unique about their sound. They were the soundtrack to so many experiences of my formative years as a teenager and the older I get, I find that I can grow out of some bands' music, but ALL & Descendents just stuck with me and I feel as attached and connected to their songs as I ever did; the test of time is a special thing. I, also, saw them live as a teenager in a small venue called The Foundry in Birmingham, [West Midlands, England] where I grew up. They absolutely blew me away! They didn't stop for two seconds. I hung out with Stephen [Egerton] & Natalie [O'Reilly] at the end of the show because I missed my bus. They took care of me and I think that always meant a lot. Years later, I'm now friends with them and they say they still remember the blonde mohawked teenage me, ha!<br>
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<b>IX. Who designed the album cover artwork for Stop The World and what we're your (and the artist's) greatest sources of inspiration and influence?</b><br>
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<font color="teal"><b>Warsop:</font></b> My mate, <a href="https://www.instagram.com/therealjoshr/?hl=en">Josh Grelock</a>, is an incredibly talented artist and he made the cover for us. I had the vision, then, we chatted, and he brought it all to life and then some. It's a total Allroy rip-off, of course... cartoon art harking back to 80's/90's Pop-punk, but I wanted to create Allroy's female counterpart—I think she's called Notalia, haha.<br>
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<b>X. How do you personally feel about the concept of "ALL" as outlined throughout Descendents' 1987 album, ALL? It's concepts are based around the goals of achieving "the total extent" and "to not settle for some, to always go for ALL." Essentially, "doing the utmost, achieving the utmost," as once explained by Bill Stevenson himself.</b><br>
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<font color="teal"><b>Warsop:</font></b> I have always been extremely influenced by this entire concept. It was one of the things that fascinated me about ALL/Descendents since I was a kid. Henry Rollins' [book,] <a href="https://www.twothirteensixtyone.com/products/get-in-the-van">Get In The Van[: On the Road With Black Flag]</a> and the Black Flag work ethic really made an impact, too. Given that Bill [Stevenson] was in Black Flag, I think they're very much one in the same. When you don't come from money and you're not academically gifted, then, you probably aren't gonna get handed too many breaks in life and so, the only way to go at things is full-on... which is easy, when you've got nothing to lose anyway. Also, if you want an unconventional life in music, then, you have to be prepared to do unconventional things at unconventional measures and never by halfs. So, go for ALL. That was definitely the philosophy behind the NOT record, too. I just thought if were gonna tip the hat to a band like ALL, then, we HAVE TO GO FOR ALL and do it right.<br>
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<b>XI. So, what do current and former ALL members Chad Price, Dave Smalley, Scott Reynolds, Bill Stevenson, Stephen Egerton, and Karl Alvarez think of Stop The World and your overall mission with NOT?</b><br>
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<font color="teal"><b>Warsop:</font></b> Brendan & Jarred went to The Blasting Room to work with Bill on their latest Mercy Music record, <a href="https://mercymusic.bandcamp.com/album/melody-and-truth">[Melody & Truth]</a>. They showed it to Bill and he was blown away, apparently. We were a bit nervous about that, but he was so enthusiastic and gave us his blessing. [Basically,] saying that all he ever did was rip-off his idols. Last time I saw him, he complimented me on it, as well, and had lots of questions about how we ripped it off so well, hahaha. Stephen & Natalie said they love it, too, and that's meant the world to us. Dave, Scott & Chad were all interested in singing on the record, but it never quite worked out, sadly... but, again, to have their support was the ultimate blessing.<br>
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<b>XII. What's planned next for NOT?</b><br>
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<font color="teal"><b>Warsop:</font></b> We wanna play more and tour. We may have some dates in June. watch this space.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-20958644036412512182023-05-31T11:57:00.003-07:002023-05-31T13:21:46.040-07:00Members of AFI, Against Me!, Alkaline Trio, Dan Andriano & The Bygones Form LEKTRON & Share 2-song Debut EP (Asian Man Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1yNjNVvHtRXMKfpNIeqjxfb2fJ5hcCugiDCQNXLzDXeEZUgykKMk73sicRQkXkLaMwAWFRitX34quRQD1Ilhg1VtZABi0VaowXQdec6IiFPZh29zd7oWk8XVfzky6PwJW50XMnWgxuGhwJVE8J5jKZLi6m4kePZIFu-2NV-X6SUSdTQjYRpFomNa2dQ/s1900/348958234_166781419479114_3836099396039862806_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1yNjNVvHtRXMKfpNIeqjxfb2fJ5hcCugiDCQNXLzDXeEZUgykKMk73sicRQkXkLaMwAWFRitX34quRQD1Ilhg1VtZABi0VaowXQdec6IiFPZh29zd7oWk8XVfzky6PwJW50XMnWgxuGhwJVE8J5jKZLi6m4kePZIFu-2NV-X6SUSdTQjYRpFomNa2dQ/s620/348958234_166781419479114_3836099396039862806_n.jpg"/></a></div></center><b><i><small><font color="lightblue">LEKTRON, L-R: Matt Skiba, Atom Willard, Hunter Burgan, and Randy Moore (SOURCE: Facebook, photographer unknown)</b></i></small></font><br>
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LEKTRON was born in a torrential rainstorm in San Jose, California on a fateful winter night. What started out as an excuse for Matt Skiba (Alkaline Trio, blink-182) to make some noise in a friend's studio quickly evolved into a Garage-esque Punk Rock band thanks to the recording prowess of <a href="https://www.discogs.com/artist/1485667-Ryan-Perras">Ryan Perras</a> and the Black Belt guitar musings and structural sensibilities of Randy Moore (GET MARRIED, DOKI DOKI, Dan Andriano & The Bygones.) Moore actually works at Asian Man Records with owner and founder Mike Park. The three built the foundation for the songs "Dirty Jacks" & "She's A War" to be taken up by rhythm section juggernauts Atom Willard (Social Distortion, Against Me!) on drums and Hunter Burgan (AFI, Matt Skiba & The Sekrets) on bass. What started in the vibey confines of District Recording Studios in San Jose would be taken down to the Foo Fighters' beautiful and legendary Studio 606 for said rhythm implementations by Atom & Hunter. The result is LEKTRON's <a href="https://ffm.to/lektron">first release</a>, via Asian Man Records. The band already has plans for a follow-up full-length album and an extensive live touring schedule.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=3435388089/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3868771666/transparent=true/" seamless><a href="https://asianmanrecords.bandcamp.com/album/lektron">LEKTRON by Asian Man Records</a></iframe></center>
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LEKTRON draws influence from its members' respective projects, as well as bands, like Fugazi, Joy Division, and Brainiac. LEKTRON, a new Garage Punk outfit led by Alkaline Trio's Matt Skiba, released their debut two-song single, via Asian Man Records. Both tracks, "Dirty Jacks" & "She's A War," are now available on major streaming platforms and now-SOLD OUT <strike>fans can pre-order the</strike>vinyl, which is expected to ship by end of June, on asianmanrecords.com. LEKTRON, also, confirmed plans for a full-length album supported by extensive touring with more details to come later this year. Emerging organically from the musicians' established friendships, LEKTRON promises to give those involved an opportunity to comfortably explore new creative directions while remaining true to their shared Punk roots. "Dirty Jacks," for example, builds tension with an energizing and irresistible rhythm that pounds for a full minute before exploding with Skiba's signature vocal hooks and just the right amount of grit and dissonance.<br>
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"She's A War" goes faster and darker with more stripped down production and a generous dose of fuzz. Both tracks capture what these guys do best: deliver catchy, yet macabre Punk Rock at a frenetic pace with wry humor and wicked hooks throughout. The recording process for the band's first official release started at San Jose's District Recording before moving down the coast to the Foo Fighters' Studio 606. The final tracks are now being released by Asian Man Records and Mike Park, another stalwart of the Bay Area's ever-evolving D.I.Y. music scene. Known for nurturing talent and giving bands time and space to develop, Park's label proved to be a perfect match for the nascent group, providing another opportunity for long-time friends Park & Skiba to collaborate. Be sure to Follow both <a href="https://www.instagram.com/lektronmusic/?hl=en">LEKTRON</a> and <a href="https://asianmanrecords.limitedrun.com/products/search?q=lektron">Asian Man Records</a> for further news on the band's upcoming plans and releases.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=3435388089/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2020186275/transparent=true/" seamless><a href="https://asianmanrecords.bandcamp.com/album/lektron">LEKTRON by Asian Man Records</a></iframe></center>
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<blockquote>It's an incredible feeling when you're able to work with one of your best friends. I've known Matt Skiba since he was a teenager living in the suburbs of Chicago. He's made quite a name for himself in music. He could have released this project with any label he wanted, but he asked me. He told me, "it feels right. It feels like when we started together 25 years ago."<br>
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And he's right!!! No contracts, no deadlines, no crazy managers, no crazy expectations, just friends creating art together. There's a lot more I want to say, but I'll just leave these final words. "Music is amazing and creates so many bonds. If you are good to each other in this extremely sh*tty business, you will retain these bonds for a lifetime." Hope you've had a chance to listen to the songs. If not, just click the link in my Bio. Have a blessed day.<br>
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Peace,<br>
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Mike Park (<a href="https://www.instagram.com/asianmanrecords/?hl=en">@asianmanrecords</a>)</blockquote>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCd_81NxkYkJrz5HnAWEe7p1NSErKG-_cVvX2ilBmh3fd2fRDFTS98gc-ZiX4HKkWOkcF499AWl8f-KcdQle9twkTAn2gSMimJDb7ZuAVOrC-Op021livMQ2QnVkeSlY3lytUjO3NzOpJQTBmk9OSK8cx6BtwKfUAczdCECVVqDj6jdMwfqNCt7J_lPw/s2000/341141279_140519055477555_1820803520940305492_n%20%28EDIT%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCd_81NxkYkJrz5HnAWEe7p1NSErKG-_cVvX2ilBmh3fd2fRDFTS98gc-ZiX4HKkWOkcF499AWl8f-KcdQle9twkTAn2gSMimJDb7ZuAVOrC-Op021livMQ2QnVkeSlY3lytUjO3NzOpJQTBmk9OSK8cx6BtwKfUAczdCECVVqDj6jdMwfqNCt7J_lPw/s720/341141279_140519055477555_1820803520940305492_n%20%28EDIT%29.jpg"/></a></div></center><b><i><small><font color="lightblue">LEKTRON press shot and LEKTRON EP cover (CREDIT: Mark de Salvo)</b></i></small></font><br>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-13081801900106195222023-05-30T08:58:00.007-07:002023-05-30T18:49:15.165-07:00New Jersey's Own Pop-punkers The Fiendz Return with "Down The Shore" from Forthcoming New Album Dummy (Black Pumpkin Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWtALEoOn-0YXbvTecqMe6QASuDxXn2u4Z-D3jjf3Yc6_5iYH-D1bygV4IYW3p1xHgfSVwndiHf8jkK21CPsCWKxwTK1p0Kw5OB1-J7ke7bJ9LyPCPrpbbzHK0cFPbUOLtjk_11kOhnkPAEJbBonNSmpk0X2bh0Fz5GZ5exsygUn4t6wYPEyU-xXptPw/s1900/The%20Fiendz%20%28Black%20Pumpkin%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWtALEoOn-0YXbvTecqMe6QASuDxXn2u4Z-D3jjf3Yc6_5iYH-D1bygV4IYW3p1xHgfSVwndiHf8jkK21CPsCWKxwTK1p0Kw5OB1-J7ke7bJ9LyPCPrpbbzHK0cFPbUOLtjk_11kOhnkPAEJbBonNSmpk0X2bh0Fz5GZ5exsygUn4t6wYPEyU-xXptPw/s620/The%20Fiendz%20%28Black%20Pumpkin%29.jpg"/></a></div></center><b><i><small><font color="hotpink">The Fiendz's 1987-96 line-up, L-R: Joey Darone, Jerry Jones & Jimmy Joyce (ART CREDIT: Joe Darone)</b></i></small></font><br>
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Now, let's just be completely honest here: in an ideal world, who (on The East and/or West Coast) wouldn't wanna be down at the shore over Memorial Day Weekend!!? I mean, I could personally do without all the related traffic, mobs of people, noisy neighbors setting of random fireworks, and hullabaloo, but being down at The Shore—well, the REAL Jersey Shore, Ocean City, NJ—is the best place to be during the summer! So, it makes complete and total sense that New Jersey-based Punk/Pop-punk band The Fiendz just recently unleashed a new song, fittingly titled "Down The Shore." It's the second single from their forthcoming album titled Dummy. Dummy will be the first proper Fiendz's full-length since 2011's <a href="https://thefiendz.bandcamp.com/album/commit-to-memory">Commit to Memory</a>. "Down The Shore" was delivered to radio and released ahead of Memorial Day Weekend just in time for the unofficial "start" of summer!<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=1864994004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="https://thefiendz.bandcamp.com/track/down-the-shore">Down The Shore by The Fiendz</a></iframe></center>
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"Down The Shore" was produced by original Fiendz members Jerry Jones & Joey Darone. Jones shares, "I wrote this song while were all in Lockdown. Just a fun song about wanting to get away. I guess I was trying to write something like The Ramones' <a href="https://www.youtube.com/watch?v=s0cLMW181mo">"Rockaway Beach.'"</a> Meanwhile, their first single from Dummy, <a href="https://thefiendz.bandcamp.com/track/skeletons">"Skeletons,"</a> is still being played all over the world. "Skeletons" got so much airplay that it organically charted in some great areas, like New York, New Jersey, Connecticut, Los Aangeles, and all over The UK. Dummy is a new 15-song Fiendz album coming soon on the band's own imprint, Black Pumpkin Records. The Fiendz's live band currently features Jones along with bassist Ted Faltus and drummer Matt DeSomma, while the on-record Dummy line-up consists of Jones playing guitar, bass, and lead/backing vocals, drummer Alan Bruggeman, and long-time member Joey Darone supplying keyboards and backing vocals.<br>
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"Down The Shore" was produced by Jones/Darone, mixed by Bill Stevenson (Black Flag, Descendents) at The Blasting Room, assisted by his son, Miles Stevenson (hospital socks, PLASMA CANVAS,) and mastered by Jason Livermore at The Blasting Room. The Fiendz recently hosted a <a href="https://www.facebook.com/photo.php?fbid=707513611376868&set=pb.100063547059609.-2207520000.&type=3">Dummy Listening Party</a> at The Factory Records Lounge including a solo performance by Jerry Jones late last month. "Down The Shore" is a nearly perfect piece of Pop-punk from this newly revitalized Jersey band, who has spent years touring alongside Bill Stevenson's own ALL, The Bouncing Souls, Lifetime, 7Seconds, The Ramones, The Queers, The Ataris, and The Dickies. The Fiendz's "Down The Shore" is now available on <a href="https://thefiendz.hearnow.com/?fbclid=IwAR1bY3WK5xc63Kv5Z1DbuNeprgJRCWCWQCQrtetcUCFYo2usIoMpRMThW2k">streaming services</a> for your listening pleasure. Dummy will be released at an unspecified date on Black Pumpkin Records.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=3924208371/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="https://thefiendz.bandcamp.com/track/skeletons">Skeletons by The Fiendz</a></iframe></center>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-35248427837319858152023-05-24T11:56:00.000-07:002023-05-24T11:56:36.461-07:00Rhys Langston & Pioneer 11 Form New Trio, Release Single "Amber Deception" & Announce Album To Operate This System (P.O.W. Recordings)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzRmSKVnkCX2rjqCe8KWcq4W7AN9ozWtSuX5NN2zRHgrgiIptm1cNBSAEpCyK67pq-ksjgfWLkocOk8Y5E9vyiTgnYQFXtZm_w7K3axrq2D9nbZyI_fMqQx2nsiiMVxeg-JosEWkrrdYhKQnpwPecHns9rbAWsI-0Vtv7sLEG7YZiJjwAHa6zEVbNb7w/s1900/unnamed%20%285%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzRmSKVnkCX2rjqCe8KWcq4W7AN9ozWtSuX5NN2zRHgrgiIptm1cNBSAEpCyK67pq-ksjgfWLkocOk8Y5E9vyiTgnYQFXtZm_w7K3axrq2D9nbZyI_fMqQx2nsiiMVxeg-JosEWkrrdYhKQnpwPecHns9rbAWsI-0Vtv7sLEG7YZiJjwAHa6zEVbNb7w/s620/unnamed%20%285%29.jpg"/></a></div></center><b><i><small><font color="green">Rhys Langston x Pioneer 11 (CREDIT: Emily Berkey)</b></i></small></font><br>
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Cutting-edge Los Angeles-based trio dubbed Rhys Langston x Pioneer 11 have announced a new collaborative effort, To Operate This System, set to drop in a couple months on Passion of The Weiss & The LAnd Magazine founder Jeff Weiss' own P.O.W. Recordings. The self=proclaimed "Poet Laureate of Your Living Room," <a href="https://rhyslangston.bandcamp.com/">Rhys Langston</a> joins forces with the psychedelic cosmonauts <a href="https://pioneer11.bandcamp.com/music">Pioneer 11</a> (Bryan Gomez & Alex Hastings) to chart new terrain grounded in extraterrestrial R&B, Hip-Hop, Acid House, deep space Dance music, and cosmic Soul. Pioneer 11 & Rhys Langston are, indeed, not here to bury the computer, they're here to save it. Their sprawling eight-track debut, To Operate This System, is an attempt to become one with the wires and bytes—to fuse the most cherished qualities of humanity with the power of the matrix. Crunch the data and you might receive only computative errors. After all, it is difficult to find a coherent analogue to the rare alchemy of such unexpected collaborators.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/track=2473393991/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless><a href="https://rhyslangston.bandcamp.com/track/amber-deception">Amber Deception by Rhys Langston & Pioneer 11</a></iframe></center>
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First, there's Player 1: Rhys Langston, an Art-Rap wunderkid who The New York Times recently lauded as "virtuosic and defiantly nonchalant." His hometown paper, The Los Angeles Times, shared the praise, hailing his "wry humor" and originality. Langston stylistically falls somewhere in-between Saul Williams & Saul Bellow, Beck & Bad Brains. Something special happened in the alliance with Pioneer 11, the Psychedelic Dance cosmonauts, whose gravity unmoored orbits split the difference between DARKSIDE & J Dilla; or as The FADER once said, their music is the "best way to feel lost in space without having to face the eternal abyss." In a bleak landscape where artists angle to create the easily classifiable, this emerges as a new phylum: extraterrestrial R&B grounded in Hip-Hop and Acid House with abstract expressionist lyrics about human obsolescence in the era of A.I. and absurdist crooning about house cats lost in outer space. An upcoming release on P.O.W. Recordings, To Operate This System features poetic interludes about post-Earth realities and being trapped in alien ride-share apps.<br>
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Herein, there are incandescent raps over Twilight Zone Yacht Rock, deep space Dance music in the vein of a 31st Century Devo, and Psychedelic Soul set to Soviet-era synths. Langston & Pioneer 11 were initially booked in 2018 to play on a P.O.W. artists showcase hosted at Dublab. They linked up again at a fundraiser for Weiss' subterranean magazine, The LAnd, before finally deciding to get together to jam. An inaugural session yielded sounds akin to a Massive Attack dub remix of Freestyle Fellowship. And then, The Pandemic struck... When it was finally safe to return to the studio together, their second meeting produced lead single, <a href="https://rhyslangston.bandcamp.com/track/amber-deception?label=977507756&tab=music">"Amber Deception"</a>—a dystopian hallucination of crumbling RAM chips, old video game consoles being played in a ghost note afterlife, and quicksilver man vs. machine soul. The nascent trio knew they were divining a singular vision. A series of weekly meetings quickly led to a fully-formed EP. The group considered stopping there, but aware of the ease of creation, they kept going. All songs were recorded live.
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xWOpBI8zkD-_CvzdRINGJQB1AN9hNVa2CvqD2q6pO0lyrnnEV4k4fBX8VCsZZgnlabTEa884h0Veb191bhPGzG5PSszqfV6pppnzn2jopUFN8ahWUuAzKRg3jnjRG9YepJEs0W6JJCEzcy5inLn7g3c-ninphX5eYsyvze4jx23sbLBHh2ZWgBqaxw/s1900/amber-deception-green%20%28EDIT%29.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8xWOpBI8zkD-_CvzdRINGJQB1AN9hNVa2CvqD2q6pO0lyrnnEV4k4fBX8VCsZZgnlabTEa884h0Veb191bhPGzG5PSszqfV6pppnzn2jopUFN8ahWUuAzKRg3jnjRG9YepJEs0W6JJCEzcy5inLn7g3c-ninphX5eYsyvze4jx23sbLBHh2ZWgBqaxw/s620/amber-deception-green%20%28EDIT%29.png"/></a></div></center><b><i><small><font color="green">Rhys Langston x Pioneer 11 - "Amber Deception" single artwork and To Operate This System album artwork (SOURCE: P.O.W. Recordings)</b></i></small></font><br>
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Each artist is a multi-instrumentalist and so, the system is a sturdily and quirkily constructed with guitar, bass, synthesizers, MPC drum machines, and even woodwinds. There was no standard arrangement of what sounds to be used or even who would play them. Intuition guided them in the moment. When it was finished, they handed it over to the GRAMMY Award-winning engineer, Daddy Kev (Busdriver, Flying Lotus, Myka9) for mastering. In the age of the post-genre soup, where artists and corporations extend past their strengths in an attempt to satisfy more markets, Rhys Langston & Pioneer 11 have blended and charted new terrain without dilution or acquiescence to the sentient algorithm. They have forged an important link between analogue and digital, humanistic and electronic rhythms, Science Fiction and terrestrial reality. To Operate This System is a vital, artistic expression of humans thinking with and through technology: a warm-blooded resurrection snatched from cold steel claws.Rhys Langston x Pioneer 11's To Operate Theis System is out July 26, 2023 on P.O.W. Recordings.<br>
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<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-90942557082260403822023-05-22T06:39:00.004-07:002023-05-22T09:00:17.030-07:00Fiona Snapple Talks About Working with MC Lars & Cowboy Coder, Signing with Audentes Records, and Covering Kate Bush, Harry Styles & Taylor Swift (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOCv05i1ofGL253TCca7M3kBOUtofCZvzD7IzUVkupCoUr85oKufKTr18fauZQNx68gcOy7X1tW5F0TK8vkCBt7Rg1l7v2Py0tHoDu4JX14kg6UTRtva8ZH5tjM7mR7etRu9E6u-fT06-Uxn89KPanFE9c2_SykH1KueKcZZTlxATmtCY3wV5hK4d4RQ/s1900/Fiona%20Snapple%20%28%27%27Headshot%27%27%20from%20%27%27Tour%27%27%29.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOCv05i1ofGL253TCca7M3kBOUtofCZvzD7IzUVkupCoUr85oKufKTr18fauZQNx68gcOy7X1tW5F0TK8vkCBt7Rg1l7v2Py0tHoDu4JX14kg6UTRtva8ZH5tjM7mR7etRu9E6u-fT06-Uxn89KPanFE9c2_SykH1KueKcZZTlxATmtCY3wV5hK4d4RQ/s620/Fiona%20Snapple%20%28%27%27Headshot%27%27%20from%20%27%27Tour%27%27%29.jpeg"/></a></div></center><b><i><small><font color="red">Fiona Snapple posing backstage on her last tour (SOURCE: Fiona Snapple)</b></i></small></font><br>
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Fiona Snapple, the Norwegian Black Metal singer turned Nerdcore & Hyperpop collaborator, emerged from Kristianstad, Norway's dreary depths during The Pandemic. With eight years of music under her belt, Fiona Snapple's clever name is a nod to both the Snapple drink and her black cat, Fiona. She signed with Audentes Records, collaborating with Cowboy Coder & MC Lars to blend spooky and high-tech sounds. Fiona fearlessly covers Taylor Swift, Harry Styles, Kate Bush, and more, fusing Black Metal with Pop music. Fiona's chaotic process involves tearing tracks apart and adding screaming guitars, synths, and Black Metal elements. She draws inspiration from Mayhem, SOPHIE, <a href="https://mclars.bandcamp.com/">MC Lars</a>, and Cowboy Coder.<br>
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We recently got in contact with Fiona Snapple's label representatives and press agents online, who facilitated an interview with Fiona via email. Along with Fiona's interview question responses, her handlers recently sent us this statement: "Hey, Matt! Thanks for your patience! Fiona finally got back to us. She said she'd been busy with finals at Kristianstad University. We have included her answers below. Thank you again for giving her her first-ever press!" Check out our doom-y and gloomy, comprehensive interview down below the break, which has been lightly edited for general clarity. For those interested in keeping tabs on Fiona Snapple's Black Metal/Nightcore/Hyperpop-based exploits, we strongly suggest Following her on <a href="https://soundcloud.com/fiona-snapple">SoundCloud</a>, <a href="https://open.spotify.com/artist/1xfjlBObKrOhxJhYss9F5s">Spotify</a>, <a href="https://twitter.com/f_snapple?lang=en">Twitter</a>, and <a href="https://www.youtube.com/channel/UChi8ZbCVe4KAeF1AsG5S_vA">YouTube</a>.<br>
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<b>I. How long have you been recording and releasing music as Fiona Snapple?</b><br>
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<b><font color="green">Fiona Snapple:</b></font> Oh, darling, I've been in the music game since I was but a wee lass of 14, belting out Black Metal in my parents' basement. So, that would make it, what... eight years? I've been Fiona Snapple-ing around for about two years now, though. Time flies when you're having fun, or in my case, when you're scaring the Hell out of your neighbors.<br>
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<b>II. What made you decide on the incredibly clever artist name of Fiona Snapple?</b><br>
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<b><font color="green">Snapple:</b></font> The name? Oh, it's a delightful tale! I was drinking a Snapple, see, and my black cat, Fiona, jumped on my lap. I just thought, "Fiona Snapple, The Black Metal Queen!" It sounded just like an elegant debutante with a dark twist, doesn't it? Plus, it's got that cheeky nod to Fiona Apple, but I'm way more caffeinated.<br>
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<b>III. How did you end up ultimately deciding to sign with <a href="https://open.spotify.com/artist/5SYpFFoTDO5u3MB5fXPNcQ">Cowboy Coder's</a> label, Audentes Records?</b><br>
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<b><font color="green">Snapple:</b></font> Signing with Audentes Records, it's like a dream. I mean, who wouldn't want to work with Cowboy Coder & MC Lars? When I reached out to them during The Quarantine, I half expected them to say, "who's this Black Metal weirdo?," but they loved the idea of blending genres and next thing I knew, I was part of the family. It's a bit like moving from a haunted castle to a high-tech lair, but I love it because the spookiness is in Lars & Cowboy Coder's music.<br>
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<b>IV. What prompted you to record and release charismatic covers of Taylor Swift's "Anti-Hero," Harry Styles' "As It Was," Kate Bush's "Running Up That Hill (A Deal with God,)" Drowning Pool's "Bodies" with MC Lars, and Zombie Nation's <a href="https://www.youtube.com/watch?v=z5LW07FTJbI">"Kernkraft 400"</a> with Cowboy Coder?</b><br>
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<b><font color="green">Snapple:</b></font> Well, why not? I mean, who says Black Metal & Pop can't mix? If a crocodile and a duck can have a baby, why not us? Plus, who could resist turning "Bodies" into a Nerdcore/Metal anthem or "Running Up That Hill [(A Deal with God)]" into a synth-laden, Black Metal tear-jerker? It's all about having fun and breaking the mold. Kate Bush meets Mayhem, anyone?<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJTwHjvcaJeCogAUy8eirSyO52CggUjd3ksGtQge0sbOAjY8rR6sWRvd6SQurP7YiDmVC5NqVqbr_pvTFp1NXIiOnMdRrmqK8qvfp53qmRtIl8ok2ZSjNs0ZtkHlA-Xx2MZcYHg20-VfBcSHJ-AwHYzF1VlAbc0UVaHP6YFoJFWsXYVLiQmvi17zxsQ/s1900/Fiona%20Snapple%20-%20Harry%20Styles,%20Landscape%20%28Twitter%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJTwHjvcaJeCogAUy8eirSyO52CggUjd3ksGtQge0sbOAjY8rR6sWRvd6SQurP7YiDmVC5NqVqbr_pvTFp1NXIiOnMdRrmqK8qvfp53qmRtIl8ok2ZSjNs0ZtkHlA-Xx2MZcYHg20-VfBcSHJ-AwHYzF1VlAbc0UVaHP6YFoJFWsXYVLiQmvi17zxsQ/s620/Fiona%20Snapple%20-%20Harry%20Styles,%20Landscape%20%28Twitter%29.jpg"/></a></div></center><b><i><small><font color="red">Fiona Snapple's Harry Styles - "As It Was" single cover (SOURCE: Twitter, @f_snapple)</b></i></small></font><br>
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<b>V. For those who have not yet heard your musical output, how would you attempt to best describe your musical style(s) and approach?</b><br>
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<b><font color="green">Snapple:</b></font> My music is like a cocktail of darkness and delight; a bit like a Black Forest gâteau [cake] with a cherry on top. It's Black Metal meeting Hyperpop and all of a sudden, they're dancing the night away. And trust me, it's a party you don't want to miss. The sound is heavy, but the melodies and lyrics of these Pop songs we pick, oh, they're as sweet as candy.<br>
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<b>VI. What do your typical recording, production, re-arranging, creation, etc. processes generally entail?</b><br>
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<b><font color="green">Snapple:</b></font> My process is as chaotic as it sounds. I start with a track, immerse myself in it until I'm hearing it in my sleep and, then, I start tearing it apart. I add in a few screaming guitars, some Hyperpop synths, sprinkle in a bit of Black Metal, and voila! It's a bit like making a cake with ingredients you found in a haunted house. I, then, reach out to MC Lars & Cowboy Coder to add a bit of EDM energy and work on the drum arrangements and pretty soon, the neighbors are begging our landlords to let them out of their lease.<br>
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<b>VII. How do you go about choosing which songs to cover and how similar and/or dissimilar to try and make them from the originals?</b><br>
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<b><font color="green">Snapple:</b></font> Choosing covers is like finding a black pearl in an oyster, darling. I listen to a lot of music across genres, always thinking, "could I add some Snapple magic to this?" As for how similar they are, I try to maintain the soul of the original, while giving it a complete Black Metal/Hyperpop make-over. It's like turning Cinderella into a Goth princess.<br>
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<b>VIII. What can you tell us about the plot behind and footage used within your music video for "Bodies" with MC Lars?</b><br>
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<b><font color="green">Snapple:</b></font> For <a href="https://www.youtube.com/watch?v=04F4xlWSFh0">"Bodies"</a> with MC Lars, we wanted something that was as wild and out-there as our sound. So, we decided to [make] an [Anime music video] (A.M.V.) using footage from the classic Anime, Another. As for the plot, well, let's just say, "bodies" do "hit the floor."<br>
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<center><iframe width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1311456892&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true"></iframe></center>
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<b>IX. Who or what would you readily cite as some of your greatest sources of personal inspiration and influence while creating your music?</b><br>
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<b><font color="green">Snapple:</b></font> In terms of inspiration, it's a mix of the classic Black Metal legends, like Mayhem, the Hyperpop brilliance of artists, like SOPHIE, and the quirky Nerdcore & Punk artists, like MC Lars & Cowboy Coder. Of course, Norway’s endless winters and our 10,000 types of boredom, also, play a big role.<br>
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<b>X. About how long does it take you to apply your Scandinavian Death Metal eye make-up on a daily basis?</b><br>
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<b><font color="green">Snapple:</b></font> Oh, the Swedish Death Metal make-up? About an hour or so, depending on how many times I poke myself in the eye. It's a ritual, darling. You can't rush art and believe me, getting that perfect "spooky" eye is indeed an art. Plus, it's a great workout for my arms.<br>
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<b>XI. So, has anyone from your camp heard just yet: how does Fiona Apple feel about Fiona Snapple?</b><br>
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<b><font color="green">Snapple:</b></font> I can't say I've heard from Fiona Apple herself, but I'd love to know what she thinks! Maybe, she'd fancy a duet—a Snapple/Apple collab, if you will. That could be fun, right? Although, I'm not sure how she'd feel about my version of <a href="https://www.youtube.com/watch?v=FFOzayDpWoI">"Criminal"</a> with hardstyle kick drums and guttural screams.<br>
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<b>XII. What's planned next for Fiona Snapple?</b><br>
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<b><font color="green">Snapple:</b></font> Next for Fiona Snapple? Oh, there are lots of exciting things coming up. I've got a few more collaborations in-the-works, including one with a certain Death Metal icon (I won't name names, but let's just say he's quite the Cannibal). I'm, also, planning a tour—"The Snapple Extravaganza” —where I'll be blending Black Metal, Hyperpop, and Nerdcore all in one night. It's going to be a blast, so watch this space!<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKTbEk82C1sQiUGse6HzSV65e0VZ6mcwJb0Otv_tOn2rAJrVoXInUe8Db9iK3gYTDQxc99riq3BI5ObE04DKDOKWXCxAkgF--7m90ZAPknHqiquLAuFA-L5eHuBO9RPow3zrBAWFLrBbdIzcvfLAWDS4rlu3f3oUfnYa3opCs_xnBKqIQpn6aToAyoA/s1900/Fiona%20Snapple%20-%20Swedish%20Death%20Metal%20Logo%20%28%27%27Bodies%27%27%20AMV%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtKTbEk82C1sQiUGse6HzSV65e0VZ6mcwJb0Otv_tOn2rAJrVoXInUe8Db9iK3gYTDQxc99riq3BI5ObE04DKDOKWXCxAkgF--7m90ZAPknHqiquLAuFA-L5eHuBO9RPow3zrBAWFLrBbdIzcvfLAWDS4rlu3f3oUfnYa3opCs_xnBKqIQpn6aToAyoA/s620/Fiona%20Snapple%20-%20Swedish%20Death%20Metal%20Logo%20%28%27%27Bodies%27%27%20AMV%29.jpg"/></a></div></center><b><i><small><font color="red">MC Lars - "Let The Bodies Hit The Floor" [-Feat. Fiona Snapple] Anime music video screenshot (SOURCE: YouTube, MC Lars)</b></i></small></font><br>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-4716568289888328852023-05-19T09:37:00.003-07:002023-05-19T12:13:34.628-07:00KOYO Share "You're On The List (Minus One)" Music Video & Announce New Album Would You Miss It? (Pure Noise Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3LEaHxrfAs1Wv8SEW7sw0lfBUjRJxMEFJTTaa1S7pw-NVlfs8kpVlnYkuFIEIb53FtDnNbcoYbEkAVWSrbCYzH6AQ0FM9DpipsBKEL18KJ8waUU_PkEc8oOIlNkrcnMnw8GuTGfnxc7vk1l1lB1_nSC1cSJSbGcviS3yRJJ2aaFXP_uLV1atI_-Rkg/s1900/koyo%20%28Rebecca%20Lader%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3LEaHxrfAs1Wv8SEW7sw0lfBUjRJxMEFJTTaa1S7pw-NVlfs8kpVlnYkuFIEIb53FtDnNbcoYbEkAVWSrbCYzH6AQ0FM9DpipsBKEL18KJ8waUU_PkEc8oOIlNkrcnMnw8GuTGfnxc7vk1l1lB1_nSC1cSJSbGcviS3yRJJ2aaFXP_uLV1atI_-Rkg/s620/koyo%20%28Rebecca%20Lader%29.jpg"/></a></div></center><b><i><small><font color="maroon">KOYO L-R: Harold Griffin, T.J. Rotolico, Sal Argento, Joey Chiaramonte, and Steve Spanos (CREDIT: Rebecca "Becca" Lader)</b></i></small></font>
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Long Island Hardcore newcomers KOYO have announced their debut full-length, Would You Miss It?, due out this fall from Pure Noise Records. In just a few short years, the band has been turning heads with their unabashedly heart-on-sleeve blend of Punk, Hardcore, and Emo, and now Would You Miss It? makes good on that early promise with their most satisfying release to date. To mark the announcement, KOYO have shared the album's first single, <a href="https://lnk.to/KoyoMusic">"You're On The List (Minus One)."</a> Driven by huge guitars and a heavyweight chorus, the track is a perfect introduction to KOYO's hyper-anthemic sound. The song's accompanying music video is a tongue-in-cheek testament to the KOYO's ability to tie together different generations of East Coast Punk & Hardcore, featuring fun-loving appearances from Frank Iero of My Chemical Romance, modern Hardcore favorites Regulate, photographer Michael Dubin, and producer Jon Markson (Drug Church, Bartees Strange, WORLD BE FREE.) Emerging from the Long Island underground with members of HANGMAN, TYPECASTE, Poor Choice, Rain of Salvation, and Soul Provider, KOYO hit the ground running with a sonic style that fully embraces the sound of their legendary scene.<br>
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Drawing on elements like the widescreen melodies of Taking Back Sunday or the tuneful grit of Silent Majority, the band have managed to wear their influences proudly while cultivating song-writing chops that speak for themselves. Would You Miss Is? was recorded by Markson and boasts his deft production sounds gigantic without sacrificing the basement show rawness of KOYO's sound. It's an album that figuratively and literally brings together the past and present of East Coast Punk with appearances from Glassjaw's Daryl Palumbo, The Movielife & I Am The Avalanche's Vinnie Caruana, and Vein.fm's Anthony DiDio. The result is a modern coming-of-age classic that's fit for any generation of listeners. KOYO will be <a href="http://koyolihc.com/">touring</a> heavily in support of Would You Miss It? alongside No Pressure, Fleshwater, Illusion, Bayside, and I Am The Avalanche. The band's busy schedule kicked off yesterday with a North American tour with No Pressure, followed by UK and European tour dates in the summer with dates scheduled out from May 18th through July 26th.<br>
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Since forming in 2020, every single second of music recorded by KOYO has been completely and utterly genuine. Formed in Long Island, New York by five childhood friends who grew up together—vocalist Joseph "Joey" Chiaramonte, guitarists Harold Griffin & T.J. Rotolico, bassist Stephen "Steve" Spanos, and drummer Salvatore "Sal" Argento—KOYO's music is the sound of Stony Brook summers flipping between Taking Back Sunday & Silent Majority while driving to the beach, living within songs that genuinely feel just like home. Three years after their formation—and hot on the heels of a slew of acclaimed EP's—KOYO is now taking their next step in the hallowed halls of Long Island Hardcore with Would You Miss It?, the band's debut album. Following in the footsteps of the giants of Hardcore, Pop-punk, and Emo that came before them, KOYO are aware of the weight a debut album carries and they've been slowly crafting it since the band's earliest days. "We really slow-cooked this record," says Chiaramonte. "There are songs on it that go back as far as being written just after Painting Words Into Lines [2020] came out. Even as we were writing for Drives Out East [2021,] we knew certain songs had to be allocated for certain things. We'd just keep them in the bank and develop them over time."<br>
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Despite all the planning and tinkering, there's nothing contrived about Would You Miss It?, because there's nothing remotely manufactured about KOYO. Every element is a genuine representation of the people creating it and the album was concocted in the most authentic way possible: with five friends, all together, writing songs. "We have great chemistry as a band and as song-writers," says Griffin. "That's the beautiful thing about KOYO, that we can sort of fit into everything. We never try to box ourselves in because no matter what we do, it will still be us." To fully immerse themselves in the recording process, KOYO decamped to a barn in rural New Jersey with producer Jon Markson and spent six weeks digging into every detail of the record. The product is songs like "You're On The List (Minus One)," "Message Like A Bomb" featuring Daryl Palumbo, and "Anthem," tracks that build upon KOYO's established foundation, but feel sharper, stronger, and even more sing-along ready. "This record was a labor of love," says Chiaramonte. "Not just because of the work that went into it, but because of all the life experiences that shaped it. The record was a life-fulfilling, life-affirming thing to make, but it hurt a little bit to make, too."<br>
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That's no metaphor. Nearly every day working with Markson was a marathon 10-hour session with the band poring over every single detail to ensure their debut album met their expectations. Meanwhile, Griffin was learning how to walk again after an onstage accident precipitated a major ankle surgery. "The first week we were at the studio, I was in a wheelchair with my foot up and could not do anything," says Griffin. "Three of the songs on the album were written from that wheelchair. I had a physical therapist a mile away from the studio, so I learned how to walk while living at this farm for six weeks." For Chiaramonte's part, the lyric writing process forced him to dig deep into himself. Musically, KOYO's songs flow out of Griffin & Rotolico as naturally as a conversation at an all-night diner, but, for Chiaramonte, writing lyrics proved to be a deeply introspective experience. He'd drive somewhere remote and sit for hours with a notepad until what filled the page was an honest, open-hearted sentiment. "Life's A Pill" is a prime example and a perfect encapsulation of the range of emotion KOYO captures throughout each of the tracks on Would You Miss It?.<br>
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"That song is about a family member of mine passing away from a drug overdose when I was on my first full US tour," says Chiaramonte about "Life's A Pill." "Ultimately, I chose to stay on that tour. I didn't want to grieve. I didn't want to think about it. It was all so overwhelming that I just opted to shoulder how I was feeling, finish the tour, and deal with it another day. I found that I started to do that with a lot of things because I started to tour full-time that year. There were so many interpersonal problems that I was just smothering. That song dives into that. The loss, the avoidance, and what I was doing mirrored what some people turn to drugs for. It's a giant song about loss and escapism." Would You Miss It? is the kind of album that could only be made by a group of self-proclaimed genre-obsessives. It's why KOYO can seamlessly transition from playing the This Is Hardcore Festival to opening for Bayside because they make perfect sense no matter what bill they're on.<br>
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KOYO's sheer natural musical dexterity is what fostered collaborations with Palumbo, Caruana, and DiDio on songs where each part was written specifically with the guest vocalist in mind. Each person fits right into KOYO's musical language and expresses the range of sounds and feelings the band can express at any given time. Taken in full, Would You Miss It? is the coming-of-age tale of five friends joining together to take on the world. Fueled by a love for music and a shared creative bond, KOYO sets the bar for the new wave of Long Island bands. As Chiaramonte notes on "Anthem," a lyrical love letter to Long Island scenes of the past, present, and future, "the best is yet to come." Pay attention, because you won’t want to miss it. KOYO's Would You Miss It? is out September 29, 2023 on Pure Noise Records. It's currently available for <a href="https://purenoise.merchnow.com/collections/koyo">pre-order</a> in a number of vinyl colorways and assorted merchandise packages.<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-85445653257072358082023-05-14T20:49:00.012-07:002023-05-20T17:49:53.312-07:00The Rise & Fall of LUSTRA: An Extensive Mega-interview with Jason Adams On "Scotty Doesn't Know," Seventeen & Old Grey Horror's THE TOWER (XOFF Records)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQCotNFA9xjLZAGAkomqhlKYlkLgJoCVbvYRvwz0XFoVqjFZNOUgts7xXE3FXJLg1lOsCV28mD4n5CsEvdf7Tyi8DbpXcosPYsJeL7m_lek0kU_DZaD2vAzuws-HaQDvz3eVaw-25xqny-UYhiHWaaU-UPkcO1x4pD0_bwNqE2wXcRUiBwomEe8ndU4Q/s1900/Old%20Grey%20Horror%202%20%28CREDIT,%20David%20Pitcher%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQCotNFA9xjLZAGAkomqhlKYlkLgJoCVbvYRvwz0XFoVqjFZNOUgts7xXE3FXJLg1lOsCV28mD4n5CsEvdf7Tyi8DbpXcosPYsJeL7m_lek0kU_DZaD2vAzuws-HaQDvz3eVaw-25xqny-UYhiHWaaU-UPkcO1x4pD0_bwNqE2wXcRUiBwomEe8ndU4Q/s620/Old%20Grey%20Horror%202%20%28CREDIT,%20David%20Pitcher%29.jpg"/></a></div></center><b><i><small><font color="green">Old Grey Horror's Jason Adams pictured with his guitars (CREDIT: David Pitcher, @pitcherpictures)</b></i></small></font><br>
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We would venture to guess a musical artist has effectively "made it," achieved "mainstream" success, and/or reached "legendary" status once they've been quoted, referenced, or name-checked within a piece of digital or print media. It happened to LUSTRA (formerly known as Seventeen) when Marvel Comics issued Deadpool #41 in 2012, which, for whatever reasons, took place primarily in The Middle East. <a href="https://www.marvel.com/comics/issue/51693/deadpool_2012_41">Deadpool #41</a> was penned by Gerry Duggan and actor/Metal musician Brian Posehn with cover art executed by Mark Brooks and artist Salvador Espin. One particularly striking panel showcases Deadpool listening to, of course, "Scotty Doesn't Know" on an MP3 player with a bubble nearby inscribed "SCOTTY DOESNT KNOW SCOTTY DOESN'T KNOW-OOh-OH!" LUSTRA's "Scotty Doesn't Know" was notoriously featured as a quasi-primary character within and showcased throughout 2004 Sex Comedy film <a href="https://uproxx.com/movies/scotty-doesnt-know-eurotrip-oral-history/">EuroTrip</a> being billed across its home video box as coming "From The Producers of Road Trip and Old School."<br>
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"Scotty Doesn't Know" was later released on LUSTRA's album Left for Dead (2006) and again as "Scotty Doesn't Know (The Second Coming)" on What You Need & What You Get just two years later in 2008. Plus, with all that said, <a href="https://www.indiewire.com/features/general/matt-damon-scotty-doesnt-know-eurotrip-woman-coma-1201995785/">"Scotty Doesn't Know"</a> just went Gold as recently as August 2021 after nearly 20 years of a slow, yet steady, burn up and down the music-tracking charts. LUSTRA's Bruce Fulford, Chris Baird, Nick Cloutman, and Jason Adams were, actually, featured as "Lustra, Donny's Band" within EuroTrip alongside Scott Mechlowicz (House,) Jacob Pitts (21, Limitless,) Kristin Kreuk (Smallville, Chuck,) Michelle Trachtenberg (Buffy The Vampire Slayer,) and Matt Damon (Ben Affleck, Jimmy Kimmel Live!) We've been emailing, texting back-and-forth, and chatting on the phone with LUSTRA/Seventeen's long-time guitarist Jason "J." Adams over these past few months. Adams has been diligently working on his long-awaited solo album, now known as THE TOWER, since about 2013; with one specific track, "Franz Ferdinand Must Die," actually, having been recorded just in time for the 100th anniversary of World War I.<br>
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Old Grey Horror's THE TOWER is a sprawling 12-track concept album about World War I with sugary guitar riffs akin to "Scotty Doesn't Know," but steers away from LUSTRA's beloved brand of Rock/Pop-punk making a swift right turn into Heavy Metal, Prog Rock, Doom Metal, and Stoner Rock. Old Grey Horror's newly-minted Bandcamp page describes THE TOWER as being "less a Metal album than a symphonic manual of destruction—roaring, experimental, loosely-constructed, and yet strung together by razor-thin filigrees of hard-driving precision." We were lucky enough to conduct a lengthy mega-interview with J. Adams about all things Old Grey Horror, LUSTRA, Seventeen, the tedious processes behind the making-of all of it and much, much more. Feel free to peruse our conversation down below, which has been lightly edited for general clarity, while you listen along. Old Grey Horror's THE TOWER is <a href="https://oldgreyhorror.bandcamp.com/merch">now available</a> on digital streaming services, limited edition cassette tape, and precisely packaged 140 gram vinyl through XOFF Records/Vinyl de Paris.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/jUR0RtGJUqc" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>I. When, where, and how did LUSTRA begin?</b><br>
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<font color="blue"><b>Jason Adams:</font></b> I'd say the kernel of what, eventually, became LUSTRA came into being around 1997 when Chris Baird & Nick Cloutman took a film class together at the University of Massachusetts Boston and decided to form a band as the focus of their film project. They'll hate me for saying this, but neither of them could really "play" at the time. Still, there's something about their creative ethos and personality, even at this early stage, that seems like the blueprint for the band in its later form.<br>
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I knew Chris through his older brother, Jon Baird. In college, Jon & I had played in a band, which dissolved when everyone graduated. Jon & I had become roommates. We were totally broke and had few prospects, so rather than ["spending the] summer abroad" or whatever, we had declared it our mission to find the "seamy underbelly" of Boston. We started going to The Rathskeller (affectionately nicknamed "The Rat") a bunch and got really into seeing bands there. We, also, frequented The Middle East Restaurant & Nightclub and T.T. The Bear's Place in Cambridge. I remember feeling really envious of those bands and thinking, "I can do better than that." I'm sort of a hater like that. I think hate plays a bigger role in forming bands than anyone wants to admit.<br>
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Anyways, about the time, Chris & Nick had their "meet-cute" in film class, I had formed a band with a couple of other friends. One of them, Rich, had bought an old Ludwig drum kit, in the hope someone might learn to play it. I had been trying to convince Chris to play drums for us, but he wasn't really into our "sound," if you could call it that. I gave him a key to our rehearsal space—a dank basement room, rumored to have once belonged to The Pixies. Water would gush out of a manhole in the floor and flood the room when it rained. I never really saw Chris there much, but you could always tell when he'd been playing the drums because there'd be blood all over the snare. He'd play so hard his hands would blister and bleed all over the place.<br>
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Fast-forward a bit: Nick & Chris had to finish their film. We filmed a rehearsal on Super 8 for their film project to augment some mockumentary-style footage they had. They asked if I could help them do a better recording—I was the gear nerd who had access to a studio. I dimly recall that they led me to believe they had songs ready and that Jon was involved, etc., so I booked this little studio with an 8-track TASCAM reel-to-reel tape recorder. When they arrived, they didn't really have any songs, just a couple of riffs, and Jon hadn't yet played with them at all. We ended up arranging their riffs into simple songs and writing lyrics on the spot. Primitive as these songs were, they sounded amazing to us coming off that 8-track. I think they got an "A" on their film project.<br>
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The music interested Jon enough that he joined Nick & Chris and they started writing songs and playing gigs. This is the first incarnation of LUSTRA. While my other band was fracturing, those three started getting traction. They were tall and handsome and had this great rapport with a lot of artsy professional women. Their shows started to be kind of a thing—the songs were a sort of a dark, cryptic, clever, sexually-charged jacka**ery/tomfoolery thing. They'd do wild stuff. They played at Jacque's Cabaret (in drag, of course) and had a friend escape from a straitjacket during one song. They all three had mics and their stage banter—a sort of jocular, mutual antagonism—was really fun and disarming.<br>
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<b>II. Who was part of the primary line-up of LUSTRA and what was each member's role within the band?</b><br>
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<font color="blue"><b>Adams:</font></b> This is a difficult question... the line-up has shifted a few times. We didn't change the band name to LUSTRA until 2001 when we moved to Los Angeles. The early roster was just those three guys: Chris, Nick & Jon. I joined in '98 when my other band split. That was the line-up when the band was called Seventeen and recorded <a href="https://www.discogs.com/release/26297714-Seventeen-Breakfast-At-Tammys">Breakfast At Tammy's</a>: Chris - drums, vocals, Nick - bass, vocals, Jon - guitar, vocals, [and] Jason (me) - guitar, vocals.<br>
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Then, Nick left to attend college in New York City right as we started getting interest from Scott Benson at XOFF Records. Chris, who sang a bunch, switched from drums to bass and we hired Jason Sutter to play drums on our first real studio session at Q Division Recording Studios. We went through a few drummers, eventually, settling on Tony Mellace. Tony was our drummer while we were picking up steam in Boston and touring regionally. He played on about half the tracks on Bikini Fight. We were a really solid band and built up a lot of momentum at this time. We got radio airplay, played a festival or two, and opened for Primus, Staind, and Queens of The Stone Age.<br>
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Then, we got sued by PriMedia Corporation (parent company of Seventeen Magazine) who demanded that we stop calling ourselves Seventeen. The attorneys told us that we should. We decided to move to Los Angeles. All our success in the Boston area never seemed to translate into notoriety outside the region and LA seemed like higher ground; but Tony, who was married, couldn't make the leap. Nick, however, had expressed interest in returning to the band.<br>
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We moved to LA, plus Nick, but minus Tony, and took on drummer Bruce Fulford. It was at this time we took the name LUSTRA. Bruce arranged a tour of South Africa opening for his friends, Just Jinger [Editor's Note: later, known as <a href="https://www.facebook.com/justjinjer/">JUST JINJER</a>], who are quite famous in South Africa. This was another exhausting shoestring tour, made more frantic by taking place in a foreign country on the other side of the world where they drive on the other side of the road. During this tour, Jon decided he'd had enough and left before our final stop in Capetown. We dropped him off at a bus stop in the middle of nowhere.<br>
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Jon's departure left the line-up that recorded <a href="https://www.discogs.com/master/1928463-Lustra-Left-For-Dead">"Scotty Doesn't Know:"</a> Bruce - drums, Chris - vocals, Nick - bass, [and] Jason - guitar. This is the band you see playing (with Matt Damon) in EuroTrip.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnzvx2OQvXbFtn9HzuRvRpcpT8a9jbh4UolLNmRgKUN6Z1D1oFw8dqVY_RZp4ulEkzRAO3jOD0ycZbWtPV0Rifahh5wKdiH9iK2jaMPzWyRZwUQneh-5V1DUdsfvT9m9d45c8lIE5eVdKS0rVzvtgXZ0N2GV1LG09vlkrhG6gLnJMFMaw5VeRULkrZDw/s1900/LUSTRA%20L-R%20J.%20Adams,%20Matt%20Damon,%20Bruce%20Fulford,%20Chris%20Baird%20&%20NIck%20Cloutman%20%28EuroTrip%29%20_%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnzvx2OQvXbFtn9HzuRvRpcpT8a9jbh4UolLNmRgKUN6Z1D1oFw8dqVY_RZp4ulEkzRAO3jOD0ycZbWtPV0Rifahh5wKdiH9iK2jaMPzWyRZwUQneh-5V1DUdsfvT9m9d45c8lIE5eVdKS0rVzvtgXZ0N2GV1LG09vlkrhG6gLnJMFMaw5VeRULkrZDw/s620/LUSTRA%20L-R%20J.%20Adams,%20Matt%20Damon,%20Bruce%20Fulford,%20Chris%20Baird%20&%20NIck%20Cloutman%20%28EuroTrip%29%20_%20EDIT.jpg"/></a></div></center><b><i><small><font color="green">LUSTRA/Donny's Band, L-R: J. Adams, Matt Damon, Bruce Fulford, Chris Baird & Nick Cloutman on the set of EuroTrip (SOURCE: Jason Adams)</b></i></small></font><br>
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<b>III. How did you guys initially get approached to write and record what eventually became known as "Scotty Doesn't Know," which infamously appeared within EuroTrip?</b><br>
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<font color="blue"><b>Adams:</font></b> I recall this happening just after our return from South Africa. We returned to Los Angeles and we were facing a collapsing music industry and an eternity of these exhausting, tiny, money-losing tours. I have a vague recollection of drunkenly running into the <a href="https://www.imdb.com/title/tt0356150/">EuroTrip</a> writer-directors (Alec Berg, David Mandel, and Jeff Schaffer) at some party during this time and related our difficulties, basically, begging for help. Jon & I knew these guys from college and they had clout, having written for Seinfeld, among other things. At some point, they wrote EuroTrip, sold the script, and got hired to direct it.<br>
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Early in 2003, they handed us a script for "Untitled Montecito Project." I think they approached Jon first, as Jon was closer with Berg/Mandel/Schaffer. He declined to be involved, referring them to Chris. The script has this enormously generous slot for a Rock band to write a song. The song first appears to humiliate the story's protagonist, Scotty, with the singer bragging about banging his girlfriend; the chorus was to repeat "Scotty doesn't know." Then, the song keeps showing up over and over again throughout the script. This was the best thing we could have asked for. Those guys gave us such a massive opportunity here and we will forever be grateful to them.<br>
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<b>IV. What do you recall from this process, as well as the making of the movie with Matt Damon and the rest of the featured cast on-location in Prague?</b><br>
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<font color="blue"><b>Adams:</font></b> We spent like three days writing and recording three demo songs for them on our Roland VS-1680 Digital Studio Workstation. Our landlord (who, incidentally, was famed Irish composer Patrick Cassidy) agreed to let us track Chris playing the drums in his garage. I mentioned before how Chris played so hard, his hands bled, right? Anyways, our neighbors were furious at the noise and yelling for us to stop. Eventually, someone came BANGING on the garage door and we said something like, "F**K OFF! WE'RE ALMOST FINISHED!" and they answered, "OPEN UP! THIS IS THE WEST HOLLYWOOD SHERIFF!" We sheepishly opened the door and apologized. They were, actually, super-nice about it. The deputy said something like, "it sounds great, but you're gonna have to wrap it up." I think we played another 20 minutes and had to do some kind of tricky edit to the drum tracks later to fix the rushed recording.<br>
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We managed to record three different versions of the song. The first was, basically, the "Scotty Doesn't Know" everyone knows today; fully-formed, except a bit slower, and the lyrics were only preliminary. I remember Nick really started us off on the right foot. He showed me a couple of chord progressions and the basic riff on acoustic guitar in the kitchen. We tweaked the riff to better track one of those chord sequences and kicked around some song structure adding a bridge and refining the [segues] between sections. The second version sounded kinda like Greg Kihn or Joe Jackson or, maybe, Stone Temple Pilots. The third version was terrible... I don't think we bothered to send it to them. We did send them Techno & Muzak renditions of the first version, though.<br>
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We put the MP3 files up on our website and emailed them a link. They told us that they liked the first demo, but we had competition: there was another guy (Matt Mehaffey from sElf,) who had done a pretty good demo.<br>
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We were scheduled to play a showcase in New York City a few weeks later and were, of course, quite anxious to land this amazing movie gig. Scott Benson, of XOFF Records, decided he'd set us up to record a proper studio version of "Scotty Doesn't Know," even before our song had officially been chosen for the movie, to try and give us that little extra boost. We booked studio time at Sound Techniques in Boston with Scott Riebling, who had recorded our <a href="https://www.discogs.com/release/892691-Seventeen-Ransom-Your-Handsome-EP">first EP</a>. We then moved to Hedgehog Recording & Rehersal Studio South of Boston to overdub vocals, some additional guitar, and finishing touches. Riebling is a really talented producer and great to work with. At the directors' request, we had punched up the lyrics to reinforce the gag, but were tweaking right up to the last minute to smooth out some melodic and metric issues. Chris did a fantastic job making the rather prosaic narrative feel properly lyrical.<br>
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We returned to Los Angeles and decided "Scotty Doesn't Know" needed a bit of punching up. Riebling sent us some stems from the recording session and I tracked a few extra chuggy guitar bits to fill in some of the empty-sounding parts of the song. I think we snail-mailed Riebling a CD-R with the ProTools session on it. I remember this seemed so "modern" and "amazing" at the time.<br>
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Our improved song was chosen for the movie. I think they sent us an email. They told us Matt Damon (who we knew from college) had agreed to lip-sync the song in the scene, playing Donny, the skinhead dude you see in his cameo. We flew to Prague to film the scene in June 2003 and for a week we had to stay awake all night long shooting and sleeping all day. We were sorta confused that Matt was nowhere to be seen for days, but, then, one night, he showed up to film the scene and the cameras were on us and everything was completely electric and everyone's hair was standing on end and we were hamming it up and jumping around like apes. Matt Damon is a good dude. I think he killed the spot. He just morphed into this sleazy Punk, like G.G. Allin played by Marlon Brando.<br>
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Somehow, during all this, we managed to drink a LOT. The hotel ejected us from brunch for dining in our boxers and bathrobes. The last night, we went to some night club and partied. I remember dancing with Michelle Trachtenberg and, then, getting thrown out for pounding on the bathroom door too loudly because somebody was taking waaaay too long, probably blowing drugs or something. The bouncers frog-walked me out and one of them gave me a sort of slapstick parting kick to the bum. We've got pictures of Nick in some bar with his shirt off, then, passed out asleep with his jacket half off because he was too bombed to even close his hotel room door.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/xuIwrto3z_k" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>V. What did "Scotty Doesn’t Know" do for LUSTRA's career after EuroTrip?</b><br>
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<font color="blue"><b>Adams:</font></b> Basically, nothing for years. We returned to Los Angeles, in wild anticipation of the movie coming out, but it was a very quiet six months or so. We kept approaching major labels, hoping to acquire promotion, representation, booking, etc. The phone started to ring a bit. Someone (DreamWorks?) did a <a href="https://www.youtube.com/watch?v=yZSoJtFxP4A">regional ad</a> buy for EuroTrip during The Super Bowl on the West Coast. We were eating nachos and watching The Super Bowl with Dave Mandel when the ad came on, playing our song. Pretty surreal. Despite all this, we saw no uptick in sales of CD's—remember, this is before YouTube, iTunes, Spotify, Bandcamp, or SoundCloud.<br>
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In February 2004, the movie premiered. We attended and played the song at the after-party. I met Larry David & Herbie Hancock. EuroTrip disappointed at the box office. Our moment came and went and nothing had changed. For two years, I'd mention I was in this movie playing this song and nobody had heard of it. File-sharing was just destroying the music industry. XOFF called it quits, saying it "could no longer continue to fund" us. The heady days of living on the label's dime ended. Bruce, the drummer, quit. This was a bleak moment for me, personally. I quit the band and worked to make ends meet as a freelance web developer.<br>
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Chris & Nick continued playing, God bless 'em. They did a bit of West Coast touring and managed to tour The UK. They released a couple more records. I started playing with them again, circa 2009, but it was all pretty slow burn by that point.<br>
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Then, slowly and strangely, EuroTrip and “Scotty Doesn't Know” started growing more popular. It has taken on some weird afterlife. It's more popular now than it's ever been. <a href="https://www.rollingstone.com/music/music-lists/best-songs-by-fake-artists-1234679759/?fbclid=IwAR27wICeMxkM7co8T2Ys92zVCbDMCCoU3jK4Kro8dEZdBkJRz8NqGIkMhd0">Rolling Stone</a> ranked us at the top of one of their lists a couple of weeks ago. It's, obviously, the only reason anyone has ever heard of us. Its popularity is something of a mystery to me. It's pleasant enough in that Pop-punk way, but I think we've written better songs. There's a lesson on the value of exposure here, certainly. I hope fans of the song will look deeper into our catalog.<br>
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<b>VI. How long after EuroTrip did LUSTRA fizzle out and when was the last time you were all together in the same room making new music?</b><br>
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<font color="blue"><b>Adams:</font></b> "Fizzle out?" When did your mom fizzle out? No, of course, this is a fair question. We recorded some pretty decent songs in our rehearsal space with our last drummer, Gant Frink, in 2016. These tunes have not yet been released. I would say LUSTRA stopped functioning in any active way when Chris moved back to the East Coast a few years ago.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0oSrEpANvdmdzk_ol7pF4OvFkm4EOtTphq6NfL4Ybv1UrF26rVxXa_1xUk_clDqEX8meoH0ZpESG3hTl7egn4xUSCOoluwMH8epOLEMt7bO3R_FGhe_6UrCVHQc3_RxcWfjBUm5YEHjiDCwVK9VNkGnA0bg4iX9bf1oQyHUbk4Tr8l1pKZz5Q_3tQuw/s1900/Nick%20In%20Some%20Little%20Prague%20Bar...%20%28straw%20shades%20smoke%29%20_%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0oSrEpANvdmdzk_ol7pF4OvFkm4EOtTphq6NfL4Ybv1UrF26rVxXa_1xUk_clDqEX8meoH0ZpESG3hTl7egn4xUSCOoluwMH8epOLEMt7bO3R_FGhe_6UrCVHQc3_RxcWfjBUm5YEHjiDCwVK9VNkGnA0bg4iX9bf1oQyHUbk4Tr8l1pKZz5Q_3tQuw/s620/Nick%20In%20Some%20Little%20Prague%20Bar...%20%28straw%20shades%20smoke%29%20_%20EDIT.jpg"/></a></div></center><b><i><small><font color="green">LUSTRA bassist Nick Cloutman partying in some little bar in Prague while filming EuroTrip (SOURCE: Jason Adams)</b></i></small></font><br>
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<b>VII. What can you tell us about your latest non-LUSTRA musical exploits as Old Grey Horror?</b><br>
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<font color="blue"><b>Adams:</font></b> THANK YOU FOR ASKING! Old Grey Horror is my solo project! While I take a lot of pride in the popularity and success of "Scotty Doesn't Know," my heart, musically speaking, lives in a darker, more reflective place. I have been working for years on my solo record, <a href="https://oldgreyhorror.bandcamp.com/album/the-tower">THE TOWER</a>, which is a concept album about The First World War. It's the most ambitious thing I've ever done in my life and I've poured everything into it. I've found some truly talented musicians to help me. I've recorded it, one song at a time, one track at a time, over a span of about 10 years. I've hired some of the best mastering engineers alive to polish the sound. You might say it's my magnum opus. I'm enormously proud of it.<br>
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THE TOWER is a concept album in the grand tradition, free from the constraints of a Comedy set piece, pressed on 140-gram vinyl in Paris, and packaged in a lavishly illustrated gatefold jacket. I've finally seen the LP sleeves and I'm really pleased. They look fantastic.<br>
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<b>VIII. How does Old Grey Horror's music differ sonically from that of LUSTRA's and how was it influenced by your time spent with LUSTRA?</b><br>
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<font color="blue"><b>Adams:</font></b> Firstly, THE TOWER is a concept album. It's 45 minutes of music about a coherent theme—The Great War—rather than an ad-hoc collection of Rock songs. Listeners have described it as muscular, haunting, and stylistically prismatic. It still has that guitar-forward, melodic sound you have in "Scotty Doesn't Know," but it's a different beast entirely. Folks who've heard other LUSTRA songs might recognize some similarities, but I've tried to stretch my chops as far as they'll go and I think I've covered some fresh territory.<br>
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I think it's a fun, psychedelic record—sorta like a 3:00a.m. <a href="https://www.imdb.com/list/ls003359911/">Creature Feature</a> with stop-motion monsters—but it's about real events, distilled from extensive research and reading, which lend a lot of gravity. I'm obsessed with World War I (WW1) and have read thousands upon thousands of pages of Non-fiction and memoirs. I've probably seen every WW1 movie under the sun.<br>
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I was always the "recording nerd" in LUSTRA. I engineered Breakfast At Tammy's in a basement in Somerville. I knew a little bit about recording back then, but I learned so much working with the guys in LUSTRA and our various producers (Scott Riebling, Sylvia Massy, Joe Barresi, Ron St. Germain.) We discovered all kinds of tricks: which mics to use, hard panning the guitars, the importance of drum tuning, amp selection, pick-up and pedal choice, etc. I like to think THE TOWER is the culmination of years of learning, most of it while recording LUSTRA songs. It's impossible to quantify, but I feel a tremendous debt of gratitude to everyone involved with that band.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/aAY_Au2yDfo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>IX. Who or what would you readily cite as some of your greatest sources of personal inspiration and influence while creating Old Grey Horror's debut album, THE TOWER?</b><br>
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<font color="blue"><b>Adams:</font></b> Oof, this would be a long list, if I was thorough. The first time it dawned on me that I should make a concept album was when Jon Baird introduced me to the album Dead Sailor Acid Blues by the Boston band Orangutang. I was really into that record and we went to see them live at The Rat and they were amazing. Before them, it never would have occurred to me that I could do something so extravagant as record a concept record.<br>
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Pink Floyd is an obligatory influence, of course. I love Dark Side of The Moon shamelessly and unironically. I, also, sorta consider <a href="https://www.discogs.com/master/32082-Janes-Addiction-Ritual-De-Lo-Habitual">Ritual de lo Habitual</a> by Jane's Addiction to be a concept album and a potent inspiration. In recent years, I have had my life changed by seeing <a href="https://www.youtube.com/watch?v=jpg8rOhMGOE">Napalm Death</a> live. The loudest tracks on my record are but a pale imitation of their righteous glory. I, also, love High On Fire & Sleep and whatever else Matt Pike gets up to.<br>
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And it may sound pretentious, but I was really hoping to get a sort of "cinematic" thing going with my record. I wanted something that evokes visual imagery. I've found a lot of inspiration in numerous Classical composers: Gustav Holst, Modest Mussorgsky, György Ligeti, John Williams, Benjamin Britten, Alexander Scriabin, and Claude Debussy. I made playlists full of their music. When you spend so much time on a record, you have lots of time to crawl down all kinds of rabbit holes.<br>
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<b>X. What did the writing, recording, production, creation, etc. processes behind the creation of Old Grey Horror's debut full-length, THE TOWER, typically entail?</b><br>
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<font color="blue"><b>Adams:</font></b> With one exception, I wrote the songs in the order they appear on the album. For coherent song transitions, you need to know how the prior song ends before you write the next one. I'd start with the song premise first and look for inspiration in the vast amount of WW1 reading out there. Once I found a compelling, evocative passage, I'd try to imagine a suitable musical mood and atmosphere; this usually [led] to some kind of tonal palette and phrasing.<br>
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For example, First World War discussions always start with Franz Ferdinand's assassination. The great irony of WW1 is that this orgy of destruction visited on the human race started with one guy getting shot—his wife is rarely even mentioned. Distilling that irony to its essence, you get this idea of a secretive, tip-toeing, whispering conspiracy. In my reading, I stumbled across a first-hand account from one of the conspirators, Borijove Jevtic, related in the book, We Were There: An Eyewitness History of The Twentieth Century by Robert Fox. Jevtic describes the arrival of a newspaper clipping, the gas lamps, etc., in this kafana (or tavern) in Belgrade called The Golden Beluga. So, you have this narrative, this tremendous atmosphere, basically, writing itself.<br>
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And we have a location—Belgrade! I started Googling "Balkan Music" and am suddenly hearing all this Turkish music with these war-like davul drums. I, then, asked a brilliant musician I know, Brian O'Neill, what scales or modes might be useful and he suggested a Bhairav raga.<br>
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When you have some rhythms, some lyrical phrases, and a tonal palette, you can start fiddling with them on an acoustic guitar. Once I found a couple of riffs, I would start to script up some MIDI drums or a click or something and started recording rough drafts in ProTools. The result was usually right on-target. Came back a few days later and tweaked the structure, if something sounded off. After a few iterations, it started to sound fairly complete.<br>
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For the more heavily orchestrated songs, it got quite involved. I'd start off recording a little Honeytone battery-powered guitar amp to a click track. Then, I'd spend hours scripting specific sympathetic drum patterns to try and get things fairly exact. This would give me a fairly complete demo of the song, which I could send to a drummer to learn the tune. Then, they'd come down to our rehearsal space and we'd record live drums—usually early in the morning, so other bands weren't blasting across the hall. Once the live drums were in there, the song started to really come alive. I f***ing love the sound of a drummer in "beast mode" smacking real drums with a bunch of microphones around.<br>
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Then, I'd go back in and play bass a few days later. I could usually track one song a day on bass. Then, I'd come back and track numerous tracks of guitars; that might take a couple of days. Always a mic'ed amp. Most often a Marshall head guitar amp and 4x12" Mesa speaker cabinet, cranked up loud. This was pretty exhausting. I don't have any kind of control booth, and it's hard to be in a room with a full stack blasting for four hours, playing the song, and operating the recording equipment. Most of the recording work was completely solitary.<br>
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Once those guitar tracks were in, it sounded like a Rock band and it's such a rush to hear all the drums and guitars banging away. You need that thrill, that frisson of excitement from the music to get you pumped to sing.<br>
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The singing is where the song gains its final dose of emotion, that finishing gloss. I don't claim to be anything special vocals-wise, but I think most people identify emotionally with the vocal track more than any of the dozens of instrumental tracks.<br>
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Once I had everything recorded, I'd take the ProTools project to my dude, Brad Dumovic, who is amazing. He is a musical force multiplier, and he can make your music sound great.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_T5ElQgO-WfZWBsRHpZf_-y90banrjPy9-ZuIS4ylyqGPvGV3eZB_Xmc_y0X8dM8OetB9XOfrCDX2AwjuGvDtqHTz13QS4j5DLWDo4BgbfvxLlbj98HouuqGgHcmdtq_BYn5tzmwaXVv2616rJpGjOxiKpPVCIVKf3D8Z2_9METpQEWsYt6A_QXw5vw/s2000/Old%20Grey%20Horror%20-%20The%20Tower%20%28cover,%20Hi-res%29%20+%20back%20cover%20_%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_T5ElQgO-WfZWBsRHpZf_-y90banrjPy9-ZuIS4ylyqGPvGV3eZB_Xmc_y0X8dM8OetB9XOfrCDX2AwjuGvDtqHTz13QS4j5DLWDo4BgbfvxLlbj98HouuqGgHcmdtq_BYn5tzmwaXVv2616rJpGjOxiKpPVCIVKf3D8Z2_9METpQEWsYt6A_QXw5vw/s720/Old%20Grey%20Horror%20-%20The%20Tower%20%28cover,%20Hi-res%29%20+%20back%20cover%20_%20EDIT.jpg"/></a></div></center><b><i><small><font color="green">Old Grey Horror - THE TOWER front and back covers (ART CREDIT: J. Adams)</b></i></small></font><br>
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<b>XI. What can you tell us about the vinyl packaging, layout, and design for Old Grey Horror's THE TOWER?</b><br>
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<font color="blue"><b>Adams:</font></b> A good concept album needs a good cover. I have a book of album covers and the British design firm <a href="https://www.amazon.com/Vinyl-Album-Cover-Art-Hipgnosis/dp/0500519323">Hipgnosis</a> has done the best album covers ever. I bought Led Zeppelin's Houses of The Holy on vinyl just to see its amazing gatefold and cover art again. I thought, "I must have a cover like this." I knew what sort of image I wanted and a good idea of what it should look like. I started doing basic sketches myself.<br>
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I began talking to my brother and another talented artist I know, Bradney Evans, about cover designs. They each sent me a sketch and I got very excited, but I quickly started to realize it would be unreasonable to expect them to really crank out a good design unless I could pay them. I just didn't have the money, so I decided to take a stab myself.<br>
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I'm hardly an experienced illustrator, so I took a very technical approach that makes up for my shortcomings. I downloaded Blender (3-D modeling software) and cooked up a mock-up of the front cover image, so I could play around with lighting sources and composition. I wanted the cover to look like the tarot card of the same name, the tower, but instead of the Medieval tower struck by a cartoon lightning bolt, I wanted the Ypres Cloth Hall struck by an artillery shell. I fiddled with it forever until it started to look right, then, I did trigonometry for, like, a week to figure out how to take some photos of a soldier, so the lighting looked correct. My friend, Dave, and I went to a parking lot in Griffith Park and I put on an old WW1 uniform I bought on eBay and Dave took photos of me under a really bright light.<br>
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I took the photos and used carbon paper to trace all the outlines in those photos and in old war photos and made a montage of them in Photoshop. It looked pretty awesome, so we bought some German WW1 uniforms and did the same thing for the back cover.<br>
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The gatefold has another drawing, a bit less trigonometry involved. The photo of the poppy field is one I took in Antelope Valley, California. The poppy fields there are amazing.<br>
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<b>XII. Would you mind telling us a little bit about the storylines, concepts, and themes that can be heard across Old Grey Horror's THE TOWER?</b><br>
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<font color="blue"><b>Adams:</font></b> It starts quietly, with a <a href="https://oldgreyhorror.bandcamp.com/track/franz-ferdinand-must-die">quiet song</a> about plotting to kill Franz Ferdinand, of course. The <a href="https://oldgreyhorror.bandcamp.com/track/the-lamps-are-going-out-all-over-europe">second tune</a> introduces the first use of Morse Code on the record and features recordings of Margot Asquith & Kaiser Wilhelm. The <a href="https://oldgreyhorror.bandcamp.com/track/mobilize">third tune</a> is where the distortion and Rock music starts. These three songs cover the mobilization of armies, the German atrocities in [Belgium], and the first skirmishing encounter between the British & German forces, in which Charles Beck Hornby becomes the first British soldier to draw German blood near the village of Casteau in 1914. Side A finishes with a tune about the <a href="https://oldgreyhorror.bandcamp.com/track/christmas-1914">Christmas Truce of 1914</a>, meant to sound like a creepy Christmas carol—because all the good Christmas songs sound creepy.<br>
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Side B is a bit less historically-specific. The themes get more personal and immediate and the guitars are tuned lower. The first tune on this side is the <a href="https://oldgreyhorror.bandcamp.com/track/the-tower">title track</a> and considers fate and fortitude. The second song, <a href="https://oldgreyhorror.bandcamp.com/track/trommelfeuer">"Trommelfeuer,"</a> is meant to evoke the ghastly horror of an artillery bombardment. The third song, <a href="https://oldgreyhorror.bandcamp.com/track/over-the-top">"Over The Top,"</a> depicts the sprinting terror of a trench raid across no-man's land. Here, the record makes a big sonic U-turn and we have a <a href="https://oldgreyhorror.bandcamp.com/track/one-more-day">mellow tune</a> about the widely-documented relief and bemusement men would feel heading away from the danger of the front line. <a href="https://oldgreyhorror.bandcamp.com/track/le-claque">"Le Claque"</a> is a seedy trip to a brothel or opium den to seek some amusement and distraction. The final song, <a href="https://oldgreyhorror.bandcamp.com/track/crawl-in-the-bottle">"Crawl In The Bottle,"</a> is an ode to the mental oblivion found in drinking.<br>
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Thematically, I hope Side A can be seen to tell a story of the war's beginnings, leading [to] the breakdown of diplomacy with a few historical narratives of conflicts, hopefully, made more vivid by a first-person perspective. Side B relates a more personal arc: the progressively greater shocks of seeing the front, getting shelled, and, then, attacking across no-man's land, followed by the relief and emotional fallout of the retreat from danger.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1658881995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1915670780/transparent=true/" seamless><a href="https://oldgreyhorror.bandcamp.com/album/the-tower">The Tower by Old Grey Horror</a></iframe></center>
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<b>XIII. In addition to or aside from yourself (credited here as "J. Adams") who else can be heard playing and contributing across Old Grey Horror's THE TOWER?</b><br>
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<font color="blue"><b>Adams:</font></b> Brad Dujmovic (La La La Birdtime, Invitro) - trumpet, piano, ehru, vox, synths, and [effects], Jimmy Lee (Slant, Evol Walks) - drums, Zac Morris (Ugly Kid Joe, HU3M3N) - drums, percussion, Evan McEneaney (Ancient Enemy) - guitar, Gant Frink (LUSTRA, Happy World) - drums, [and] Mike Bolger - accordion.<br>
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There are, also, a variety of folks appearing in sort of "cameo" bits: Lia Trinka-Browner (my wife) - backing vocals, Alisha Dujmovice (La La La Birdtime) - backing vocals, Patrick Cates - shouting, foley, [and] David Pitcher - shouting, foley.<br>
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<b>XIV. How likely is it that we'll eventually see LUSTRA get back together and share some of their vaulted as-yet-unreleased music?</b><br>
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<font color="blue"><b>Adams:</font></b> With the 20th anniversary of EuroTrip's release approaching, I think there's a very good chance we'll see some tunes shake loose in the next year or two. We don't currently have any plans for a reunion show, but it might happen...<br>
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<b>XV. What's planned next for Old Grey Horror and/or LUSTRA?</b><br>
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<font color="blue"><b>Adams:</font></b> I hope to organize a live performance of THE TOWER this year, but I probably need to reel in my ambitions for the stage show a bit. I, also, hope to film some trippy music videos with the help of my talented friend, David Pitcher—just as soon as we can scrape together some budget for props and production. I have done some recording with <a href="https://www.discogs.com/artist/6295882-Nick-Cloutman">Nick Cloutman</a> quite recently and I hope he can release his record soon. He's got some cool tunes, but he's, also, got a couple of kids now and they're a handful.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy970YZL1fh62jKAuWifqJNY6YgnsuJm1UzmzAs6vXxwn_E4uA_X7Fh5AM3S6Z9rDFgEz0Dar73OqjZ3LCjOV7Et7RbAfT4mLffuuVAXMLwW8RQST5JZxZSKTukcrcXXamYX_hHfV-9vCxdGhe3UoR3bAe4ZoFtxM7Uz7yc74-NU3n-_qmWWH5oM2A9Q/s1900/J.%20Adams%20OGH%20Album%20Cover%20Test%20Photos%282%29%20_EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy970YZL1fh62jKAuWifqJNY6YgnsuJm1UzmzAs6vXxwn_E4uA_X7Fh5AM3S6Z9rDFgEz0Dar73OqjZ3LCjOV7Et7RbAfT4mLffuuVAXMLwW8RQST5JZxZSKTukcrcXXamYX_hHfV-9vCxdGhe3UoR3bAe4ZoFtxM7Uz7yc74-NU3n-_qmWWH5oM2A9Q/s620/J.%20Adams%20OGH%20Album%20Cover%20Test%20Photos%282%29%20_EDIT.jpg"/></a></div></center><b><i><small><font color="green">Old Grey Horror - THE TOWER album cover test photo (SOURCE: Jason Adams)</b></i></small></font><br>
<br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0tag:blogger.com,1999:blog-8905346701459963014.post-86975219429739275762023-05-05T08:53:00.018-07:002023-05-13T20:30:16.675-07:00Jay Galvin Talks PURE HEEL's New Album Freedom from You, Working with Winston Smith & Briteside: The Colors of Hardcore/Punk Rock Coloring Books (The Witzard Interview)<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyAhAS0JEd8wOQUnKaion1w2KG8Nf73CvRmygyHbW9oiiF4PkjQiO5cXQlQWjTTqW4UElpq5FCk9pDfHvVwsWHJ_lSNyD92QQkdAWV_3bHahQnt1KKhN2zUYA8WIUSJuG9DzVFAkEQpOLwvqR1yRv6sAXuXuammk41s2VfA1hSH61gFoZIlpl9E-3uFA/s1900/Untitled_Artwork_2%20%28EDIT%29.JPG" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyAhAS0JEd8wOQUnKaion1w2KG8Nf73CvRmygyHbW9oiiF4PkjQiO5cXQlQWjTTqW4UElpq5FCk9pDfHvVwsWHJ_lSNyD92QQkdAWV_3bHahQnt1KKhN2zUYA8WIUSJuG9DzVFAkEQpOLwvqR1yRv6sAXuXuammk41s2VfA1hSH61gFoZIlpl9E-3uFA/s620/Untitled_Artwork_2%20%28EDIT%29.JPG"/></a></div></center><b><i><small><font color="purple">PURE HEEL - Freedom from You back cover (CREDIT: MArk Miller, @hmniphoto)</b></i></small></font><br>
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Jay Galvin is the guitarist of Buffalo Wrestle-core pioneers <a href="https://thewitzard.blogspot.com/2021/03/pure-heel-group-chat-style-text.html">PURE HEEL</a>, one of our absolute favorite Punk/Hardcore-adjacent bands in recent years. Galvin is affectionately known within the band as The Captain and somewhat less affectionately known as Captain Annoying. He's been with PURE HEEL since their formation and appears on their earliest recordings starting with their four-track 2016 Demo. Galvin has been recording, making, playing, and releasing msuic since about 1995 and either is currently or was once a member of Bleed for Me, The Bonesaw Romance, Disengage, Face The Panic, P*ssing Match, Serpents of Shiva, Slugfest, thegalvinwilhelmmillerquartet; these including stints playing and making music alongside Scott Reynolds (ALL, The Pavers,) Aaron Ratajczak (Every Time I Die, HOURGLASS,) and Scott Vogel (TERROR, WORLD BE FREE.) In addition to his various musical albilities—Jay has been a singer, guitarist, drummer, and keyboard player—Galvin, also, works as a tattoo artist at CowPök Piercing & Tattoo Gallery on Elmwood Avenue/Main Street in Buffalo, New York.<br>
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Galvin has even illustrated two children's <a href="https://revhq.com/search?type=product&q=briteside*">coloring books</a> otherwise known as Briteside: The Colors of Hardcore A-Z & Briteside 2: The Colors of Punk Rock A-Z created along with Scott Vogel, his brother, Patrick Kitzel, and his brother's girlfriend. Galvin's tattoo and body of multi-media artwork can be viwed on his Instagram page (<a href="https://www.instagram.com/teamgalvin/?hl=en">@teamgalvin</a>) where you can, also, conveniently book him as your tattoo artist. PURE HEEL just dropped their debut full-length album, Freedom from You, on <a href="http://irishvoodoorecords.com/archives/6601">IRISH VOODOO RECORDS</a>. It's currently available on $5.00 CD, limited edition $10.00 three-song cassette tape, and stremaing digitally with vinyl promised to be coming later this year. PURE HEEL is playing a special Cinco de Mayo Record Release Show tonight at Amy's Place in Buffalo with HOURGLASS, Mainbreaker, VOICE IN CAPTIVITY, and DJ sets by Grimetime. Ahead of the mega-gig and on the HEELS (pun intended!) of PURE HEEL's fantastic Freedom from You, we got a chance to speak with Galvin about all of the aforementioned topics and more. Check out our latest interview below, which has been lightly edited for genral clarity.<br>
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<center><iframe width="560" height="315" src="https://www.youtube.com/embed/vH-fn3vuF6Y" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe></center>
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<b>I. So, who plays on the new PURE HEEL full-length, Freedom from You, and what is each member's role within the band?</b><br>
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<font color="green"><b>Jay Galvin:</font></b> PURE HEEL is Eric [Borawski] - vocals, Jay [Galvin (me)] - guitar, Joey [Simmen] – bass, [and] Jesse [Muscato] – drums.<br>
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<b>II. How did you guys go about which tracks to re-record, tweak, clean up, and re-visit from the PURE HEEL back catalog?</b><br>
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<font color="green"><b>Galvin:</font></b> We wanted to put "Screw Job" onto the record because it was only out on our <a href="https://pureheel.bandcamp.com/album/demo">first demo</a> and it, also, fit the album thematically.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1833228411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2651066389/transparent=true/" seamless><a href="https://irishvoodoorecords.bandcamp.com/album/freedom-from-you">Freedom From You by PURE HEEL</a></iframe></center>
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<b>III. What made you decide to cover and release Wire's <a href="https://www.youtube.com/watch?v=6nE8DFaxd94">"Ex Lion Tamer</a>" as part of the recent Freedom digital single?</b><br>
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<font color="green"><b>Galvin:</font></b> It's one of my favorite songs. So, I asked the other guys if they would be into it. They were, so we did.<br>
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<b>IV. What other cover renditions is PURE HEEL currently working on and cooking up? How will these be incorporated into your live sets and/or upcoming releases?</b><br>
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<font color="green"><b>Galvin:</font></b> No current plans.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=515432105/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3980679257/transparent=true/" seamless><a href="https://pureheel.bandcamp.com/album/freedom">Freedom by Pure Heel</a></iframe></center>
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<b>V. From your perspective, what is the Freedom from You album cover imagery meant to mean, signify, or evoke?</b><br>
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<font color="green"><b>Galvin:</font></b> I sent Winston [Smith] a bunch of lyrics for the record and he came back with a design. I suggested a couple very small tweaks and he obliged. The image is subjective; the viewer places the meaning based on their beliefs.<br>
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<b>VI. How did designer and artist Winston Smith (Dead Kennedys, Green Day, Ben Harper, Nomeansno) initially get selected and involved to create the Freedom from You cover image?</b><br>
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<font color="green"><b>Galvin:</font></b> I bought some art off of him and during that transaction, I told him how much his work means to me and asked if it would be possible for him to make something for us. I must have caught him on a good day because he agreed. I still can't believe it. He is not only a subversive artistic genius, he is, also, a very kind and witty man, who gave me some valuable insight for this project.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ODlzsD8FDVZiPzczGA8-LMh30p0Fh-y-7uWTEM3M4tMUjV_kULYHZlfUnXhwsm6kKzUQknEIQAdz-mUsCwo8HRrJICn9l-UCvQFIaWNSNyX8xIQPLUtKnlf9LrI0aNq2-6IZAExUH5-hSNwq83sJAXENVHErUEvQFCSrLNMBFScx6jzhRNFEvD8yLA/s1900/phcdc-scaled.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-ODlzsD8FDVZiPzczGA8-LMh30p0Fh-y-7uWTEM3M4tMUjV_kULYHZlfUnXhwsm6kKzUQknEIQAdz-mUsCwo8HRrJICn9l-UCvQFIaWNSNyX8xIQPLUtKnlf9LrI0aNq2-6IZAExUH5-hSNwq83sJAXENVHErUEvQFCSrLNMBFScx6jzhRNFEvD8yLA/s620/phcdc-scaled.jpg"/></a></div></center><b><i><small><font color="purple">PURE HEEL - Freedom from You album cover (ART CREDIT: Winston Smith, @winstonsmithart)</b></i></small></font><br>
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<b>VII. What are your plans for the Freedom from You release? We saw it already up on streaming services earlier this week, CD's and tapes drop today, May 5th... and are we eventually getting 7-inch or 12-inch vinyl packages, too?</b><br>
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<font color="green"><b>Galvin:</font></b> I believe cassette copies of the single have been printed and, at some point, the album will be on 12-inch vinyl.<br>
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<b>VIII. The PURE HEEL Record Release Show on Cinco de Mayo has a stacked line-up of HEEL, HOURGLASS, Mainbreaker, (DJ sets by) Grimetime, and Voice In Capacity. For new listeners, where would you recommend starting with each artists' discography?</b><br>
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<font color="green"><b>Galvin:</font></b> They are all great bands. If you find their music, you will be fine; no stinkers in there.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1833228411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1671111128/transparent=true/" seamless><a href="https://irishvoodoorecords.bandcamp.com/album/freedom-from-you">Freedom From You by PURE HEEL</a></iframe></center>
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<b>IX. Sonically, who or what would you readily cite as some of your greatest sources of personal inspiration and influence while creating Freedom from You?</b><br>
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<font color="green"><b>Galvin:</font></b> Musically, our influences are all over the place, but I really try hard to not make us sound like anyone too much. Black Flag would be the most obvious, but Wipers, [The] Dicks, Agent Orange, Wire, and Nirvana are all in there somewhere, too. I was, also, inspired by THE MYSTERY LIGHTS, which is why our cover of their song, <a href="https://www.youtube.com/watch?v=otzsrUx5IPM">"Melt,"</a> ended up on the album. Lyrically and thematically, I was very much influenced by [Dead Kennedys'] Plastic Surgery Disasters. I think it is one of the greatest albums ever made and I wanted to make a record that was that concise in its depiction of modern America. It's, also, probably why I hit up Winston for the art.<br>
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<b>X. If you could wrestle against any of your fellow HEEL bandmates (Doughy Ramone, The Claw, or The Mangler,) who would you choose and why? What would Captain Annoying utilize as his signature match-ending move?</b><br>
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<font color="green"><b>Galvin:</font></b> I would never put my hands on any of them. I love them like family. We fight the world, not each other.<br>
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<center><iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=1833228411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2946436724/transparent=true/" seamless><a href="https://irishvoodoorecords.bandcamp.com/album/freedom-from-you">Freedom From You by PURE HEEL</a></iframe></center>
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<b>XI. What prompted you and your Slugfest/Serpents of Shiva bandmate Scott Vogel to put together and release Briteside: The Colors of Hardcore A-Z & Briteside @: The Colors of Punk Rock A-Z coloring books?</b><br>
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<font color="green"><b>Galvin:</font></b> That was a project that was thought up by my brother and his girlfriend. They asked me to illustrate it, so I did. I was happy to contribute. It was fun.<br>
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<b>XII. What's planned next for PURE HEEL?</b><br>
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<font color="green"><b>Galvin:</font></b> Play more shows, write more songs, make new fans. Maybe, get a pizza after practice. Big stuff.<br>
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<center><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yUTe866uBOlI2STkasdubKLqNc27TQNyiBo5cfbNzRCAD-wvKici-FAoDaIJ_eMCHifGpSym_pf2aX_mWoI0HbAGR0BtO5zKrzCgYGHS4N9neSQ5KW5-tt2qpK_nd4gK5H22UNWJUTzoYRSa7wJeWF8DvyaZytDl7FfnY5ouwkHqAmEJ1bkNQivjBA/s2000/PURE%20HEEL%20Flyer%20%28orange_blue%29%20EDIT.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yUTe866uBOlI2STkasdubKLqNc27TQNyiBo5cfbNzRCAD-wvKici-FAoDaIJ_eMCHifGpSym_pf2aX_mWoI0HbAGR0BtO5zKrzCgYGHS4N9neSQ5KW5-tt2qpK_nd4gK5H22UNWJUTzoYRSa7wJeWF8DvyaZytDl7FfnY5ouwkHqAmEJ1bkNQivjBA/s720/PURE%20HEEL%20Flyer%20%28orange_blue%29%20EDIT.jpg"/></a></div></center><b><i><small><font color="purple">PURE HEEL - Freedom from You Record Release Show flyers (SOURCE: PURE HEEL's Facebook / VOICE IN CAPTIVITY's Instagram)</b></i></small></font><br>Matt Horowitzhttp://www.blogger.com/profile/13300660614968048253noreply@blogger.com0