ISSUE #4 // July 2014

ISSUE NO. 4 // JULY 2014

AARONWEST&THEROARINGTWENTIES•THESOSOGLOS•MELANIEMARTINEZ •&MORE

STAFF editor-in-chief copy editor head of writing managing editor public relations

clare kim lori gutman morgan magid anam merchant sarah hoffman

contributing photographers: anam merchant, avery fiftal, clare kim, emily tantuccio, lori gutman, pauline nguyen, sarah hoffman, and tyler o’hanlon contributing writers: anita nham, christina curtin, clare kim, cj morton, emily tantuccio, emma andrews, jade smith, morgan magid, sahira zulkifli, and tyler topping design: anam merchant and clare kim social media: chloe rose and emma andrews inside header by lori gutman

ABOUT continuum is a monthly music and lifestyle magazine dedicated to featuring passionate bands and individuals in the music industry. among copious other music publications, we strive to shed a new perspective upon the industry by emphasizing the passion behind artists, their creations, and those who work behind the scenes to make it all possible.

THIS ISSUE

STAFF PICKS SUMMER TOURS CLASSIC SUMMER ALBUMS PHOTO GALLERY

MUSICAL FEATURES

JACKSON HARRIS THE SO SO GLOS AARON WEST & THE ROARING TWENTIES MELANIE MARTINEZ BAD SUNS

CREW FEATURE BRAVERIJAH GREGG

CLOTHING LINE JAWBREAKING

REVIEWS

ALBUM REVIEWS

5 6 7 49 9 13 19 23 31 41 47 69

SPECIAL THANKS TO BAD SUNS, MELANIE MARTINEZ, DAN CAMPBELL, THE SO SO GLOS, JACKSON HARRIS, BRAVERIJAH GREGG, JAWBREAKING, ALY SILVERIO, CHRISTINA KOSTAMANIDIS, GWENDOLYN MEJIA, JENNA PEREG, NATALIE SCHAFFER, NIKI VAHLE, NORA DABDOUB, PETER QUINN, ATLANTIC RECORDS, BB GUN PRESS, BIG PICTURE MEDIA, BRIXTON AGENCY, GLAMOUR KILLS, PRESS HERE PUBLICITY, & REYBEE PRODUCTIONS.

STAFF PICKS EMILY TANTUCCIO

I CAN FEEL A HOT ONE - MANCHESTER ORCHESTRA

BROOKLYN'S BURNING - HEAD NORTH CJ MORTON

I’M GIVING UP ON U2 - ANTARCTIGO VESPUCCI

APARTMENT - MODERN BASEBALL LORI GUTMAN

AFIRE LOVE - ED SHEERAN

HARLEM - NEW POLITICS CHLOE ROSE

R.O.T.K. - ALEX GREENWALD

THE BEST WE GOT - THE RUBENS MORGAN MAGID

IN REMISSION - THE MENZINGERS

LOOKING BACK - THIS WILD LIFE SAHIRA ZULKIFLI

ONE - ED SHEERAN

ALREADY HOME - AGBW CLARE KIM

THE BEERS - THE FRONT BOTTOMS

AVANT GARDENER - COURTNEY BARNETT EMMA ANDREWS

CLAIRVOYANT - THE STORY SO FAR

I WANNA GET BETTER - BLEACHERS

ANAM MERCHANT

RAINING IN PARIS - THE MAINE

GRAPEFRUIT - AARON WEST AND THE ROARING TWENTIES SARAH HOFFMAN

YOU TO BELIEVE IN - PARADISE FEARS

STAY WITH ME - SAM SMITH 5 // CONTINUUM MAGAZINE

SUMMER TOURS

BY MORGAN MAGID

THE SUMMER NATIONALS TOUR: THE OFFSPRING, BAD RELIGION, PENNYWISE

• If you have any sort of interest in punk music, this is the tour you want to catch this summer.

The Offspring are playing their platinum album, Smash, in full and, if that wasn’t enough reason to go, two of the biggest names in Californian punk rock are also coming together to create an unstoppable, mosh-pit-instigating force.

MONUMENTOUR:

FALL OUT BOY, PARAMORE, NEW POLITICS • Two of the most popular bands in their scene have finally combined for one monstrous tour.

As Pete Wentz said, it’s fantastic that there are at least two bands with real guitars getting radio time. New Politics opens each show with a surge of adrenaline, complete with breakdancing and high-energy tunes. Plus, Hayley Williams’ spectacular fronting skills and Fall Out Boy’s devotion to strong overall showmanship create a surprisingly engaging arena tour.

FOXING + THE HOTELIER COHEADLINER:

FOXING, THE HOTELIER, LITTLE BIG LEAGUE, PRAWN • This collection of emo up-and-comers’ Midwest and East Coast run is an outstanding tour. Foxing re-released its 2013 album, The Albatross, this past May, and the band has a tremendous amount of potential to become the forefront of the “emo revival” with its unabashedly raw sound. The Hotelier released one of the top records of the year with its emotionally throttling Home, Like Noplace Is There and the two openers, Little Big League and Prawn, are two of the genre’s freshest faces.

BRAND NEW:

BRAND NEW ON VARIOUS DATES WITH DINOSAUR PILE-UP, JOYCE MANOR, BRONCHO • Now that Brand New has confirmed that they’re in the studio, the slight possibility of hearing a new song live should be enough motivation to try and see the Long Island heavyweights at least once this summer. The band always puts on a cathartic performance that is both emotionally satisfying and technically astounding, and the variety of openers, including Into It. Over It., Joyce Manor and Dinosaur Pile Up, makes for a very well rounded bill.

CARNIVORE TOUR:

LINKIN PARK, 30 SECONDS TO MARS, AFI • Three of the biggest names in alternative rock have teamed up for a massive national arena tour. AFI has a tremendous live show, more to the caliber of a headliner than an opener.

Fresh off of a surprise Warped Tour Ventura appearance, Linkin Park is one of the most accomplished modern rock bands to date.

On this tour, Linkin Park joins the charismatic Jared Leto and 30 Seconds to Mars to deliver a dominating one-two punch.

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BY MORGAN MAGID

OCEAN AVENUE YELLOWCARD Capitol Records, 2003

This epitome of early 2000s pop punk is an excellent balance of fun guitar-focused tracks. With the smash hit “Ocean Avenue,” the powerful opener “Way Away,” and the more emotional, stringfocused ballad “Empty Apartments,” this is one record you should be playing on repeat.

NEVER TRUST A HAPPY SONG GROUPLOVE Canvasback/Atlantic Records, 2011

The first full-length from this indie rock group features multiple vocalists that all contribute to an incredibly relaxing and multifaceted record. One highlight is the bouncy love anthem, “Chloe.”

HOW I SPENT MY SUMMER VACATION THE BOUNCING SOULS Epitaph Records, 2001

New Jersey’s The Bouncing Souls put out this lightning-fast punk record with lighter lyrics propelled by swift drumming and an abundance of energetic power chords. This boisterous album is perfect if you’re looking for an early pop-punk (think Against Me! and The Descendents) type of sound.

FAST TIMES AT BARRINGTON HIGH THE ACADEMY IS...

Fueled By Ramen, 2008

This superb pop-focused record from 2008 combines the stunning voice of William Beckett with swelling melodies to create youthful tracks. “Summer Hair=Forever Young” showcases the delightful arrangement of rich guitar tones and pop sensibility.

HERE ARE A FEW NECESSARY ALBUMS THAT SHOULD BE STAPLES FOR CAR RIDES DOWN THE SHORE AND WARM AUGUST NIGHTS ON YOUR PORCH.

YOUR FAVORITE WEAPON BRAND NEW Triple Crown Records, 2001

Before the beloved masterpieces of Deja Entendu and The Devil and God Are Raging Inside Me, Brand New made Long Island proud with this impeccable pop-punk record. Classics such as the angstdriven “Seventy Times 7” and the nostalgic “Soco Amaretto Lime” are essential for car ride sing-alongs.

EVERYTHING IN TRANSIT JACK’S MANNEQUIN Maverick Records, 2005

Similarly to The Academy Is…, Andrew McMahon’s second successful project, Jack’s Mannequin, seamlessly blends pop melodies with an impressive instrumental aspect. McMahon’s exceptional storytelling skills are evident in the gems “Holiday From Real” and “The Mixed Tape.”

ENEMA OF THE STATE BLINK-182 MCA Records, 1999

The seminal album that made Blink-182 one of the biggest rock bands in the world is absolutely made for summer. Immature lyrics about boozing and girls—“Adam’s Song” aside—coupled with simple riffs make for an incredibly catchy record that still stands tall fifteen years later.

SUBLIME SUBLIME MCA Records, 1996

No one has ever really combined reggae and punk rock better than Sublime did with Bradley Nowell at its helm. “What I Got” and “Jailhouse,” along with the hilarious “Caress Me Down,” are sure to make lounging at the beach that much more enjoyable.

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POSED PHOTO: PROVIDED LIVE PHOTOS: ANAM MERCHANT INTERVIEW BY SARAH HOFFMAN

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WHAT INSPIRED YOU TO BECOME A MUSICIAN? WAS IT ANY PERSON, ARTIST, OR EVENT IN PARTICULAR? I’ve always loved music from a very young age. I hated doing my homework, and I was always writing lyrics in my notebooks during class in grade school. I had a very supportive family who told me to follow my dreams, and they led me here.

AT WHAT POINT DID YOU DECIDE TO TRANSITION FROM RECORDING COVER SONGS TO CRAFTING YOUR OWN MUSIC? I was always writing my own music. I loved making cover songs and putting my own twist on them, but I wanted to tell my stories.

The only way to do that is through my own original music.

IS THERE A SONG YOU HAVEN’T COVERED YET THAT YOU WOULD LIKE TO? I would love to cover some Michael Jackson songs, and maybe even some John Mayer songs as well. But for the most part, I have the freedom to create or cover any song I’d like to.

WHAT SETS YOU APART FROM THE COUNTLESS OTHER MUSICIANS CURRENTLY TRYING TO BREAK INTO THE MUSIC INDUSTRY? I’m a real person living a real life with real emotions. I think honesty is lacking in a lot of the music we hear nowadays. People want to truly understand and connect with a song, and the only way to do that is to make it as personal as possible. I leave nothing out when I write my music, so listening to my songs is like listening to me opening up my heart.

IN ADDITION TO SHARING YOUR MUSIC ON YOUTUBE, YOU’VE ALSO DONE A FEW PERSONAL VLOGS AND VIDEOS THAT EVEN FEATURE SHAYCARL AND THE “SHAYTARDS FAMILY.” WHAT INSPIRED YOU TO START VLOGGING AND BECOMING MORE ACTIVE IN THE YOUTUBE COMMUNITY? ShayCarl has been a mentor and a friend

for a few years now, and he has been one of my biggest supporters. I loved watching his videos, and I was amazed at the connection he had with the YouTube community. I started vlogging because I wanted to share my life with the community as well. YouTube has helped with the growth of my music, and it allows people to see behind the scenes. Plus, it has opened up so many doors and led to new friendships and collaborations that I would’ve never thought were possible.

WAS THAT THE INSPIRATION FOR YOUR NEW SINGLE, “LIFE THROUGH A LENS”?

As mentioned, ShayCarl has been a big inspiration, and I wanted to give back to the community and to him. I wrote “Life Through A Lens” as a gift to him and his family.

I wanted to create a song that captured their infectious energy and a song that the YouTube community could relate to. Today, we live our lives through our cameras, and I wanted create a song that told that story.

WHAT ARTISTS DO YOU HOPE TO ONE DAY COLLABORATE WITH? I’d love to work with David Ryan Harris, Lorde, Iggy Azalea, John Mayer, Ed Sheeran...

The list goes on and on!

YOU RECENTLY TOURED WITH CODY SIMPSON IN EUROPE. WHAT DID YOU MOST ENJOY ABOUT THE TOUR? I loved traveling the world and meeting new fans from all these different countries. Cody is a great musician and a great guy, so it was like a long, fun, music-filled summer vacation.

OTHER THAN THE UK TOUR, WHAT CAN WE EXPECT FROM YOU IN THE NEAR FUTURE? I was recently the opening act for Cody Simpson on his Acoustic Sessions Tour.

I’ll also be releasing new music while also continuing to vlog and tour as much as possible.the UK as well as France, South America, and Canada. I’ll also be releasing new music as well as continuing to Vlog and tour as much as possible.

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THE

SO S

SO GLOS

zach staggers

matt elkin

alex levine

ryan levine

YOU GUYS ARE VERY DIY-ORIENTED, TO THE EXTENT WHERE YOU CREATED YOUR OWN WORD WITH AN EXTENSIVE DEFINITION FOR THE BAND NAME. IS THERE ANYTHING IN PARTICULAR THAT INSPIRED YOU GUYS TO TAKE THIS UNCONVENTIONAL ROUTE IN THE INDUSTRY? We’re not industry kids. We’re kids who grew up listening and making music to escape all of the crazy commotion that has been going around us since we were really young. Our band was born out of broken homes and medical issues in 1991, and we were just toddlers then. We found refuge in punk rock very early on, and there was no thought or knowledge of what the music “industry” was all about. There’s very little shtick to what we do, and, because of that, we’ve been semi-outcasts in a lot of scenes. In some ways, we’ve had to start our own community, and D.I.Y. is all we’ve ever known. I don’t know if our “unconventional route” has been all that calculated, but our energy as a group is that of a dysfunctional family coming together in tough times to make something positive.

That’s what we attract, and so it grows...

DO YOU THINK THAT BEING BROTHERS HAS AN EFFECT ON THE OVERALL DYNAMIC OF THE BAND? Yes. Very much so.

IN WHAT WAYS DO YOU THINK YOUR UPCOMING RELEASES WILL BE SONICALLY DIFFERENT FROM YOUR PREVIOUS RELEASES, SPECIFICALLY BLOW OUT? BLOWOUT is a victory for the underdog. It’s a party or a bomb going off. An explosion. What comes next is the dark cloud. The fall out. You’ll see.

WHAT IS IT LIKE TO TOUR WITH A BAND AS RESPECTED AND NOTABLE AS SAY ANYTHING? It’s been a trip with lots of energy. Everybody’s somebody at the good old rock n’ roll show.

IN ADDITION TO RECORDING MUSIC AND TOURING, YOU GUYS CO-FOUNDED AN ALL-AGES VENUE A FEW YEARS BACK. DO YOU EVER SEE YOURSELVES STARTING A PROJECT SIMILAR TO THE MARKET HOTEL AGAIN?

SPEAKING OF, YOU GUYS ARE BIG ADVOCATES FOR THE “DIY ALL-AGES SCENE.” WHAT DOES THAT MEAN EXACTLY, AND WHAT DOES IT MEAN TO THE BAND AS WELL AS TO THE MUSIC SCENE AS A WHOLE? We help out with Shea Stadium. It’s an all-ages public recording studio. We helped get it started We grew up going to all-ages shows both in NYC with our oldest friend and producer, Adam Reich. and in the surrounding area. Having places where He keeps an amazing archive of live shows that kids can go that are not exclusively 21+ is essential. have been recorded over the years. Check them Concerts are the perfect vessels for teenage angst to out: liveatsheastadiumbk.com be released. Protest music & art belongs to the youth first and foremost, so it seems absurd to put an age WHAT’S YOUR ULTIMATE GOAL THAT YOU’D LIKE restriction on places like this. Since the formation of TO ACHIEVE THROUGH THE BAND AND THE The So So Glos, we’ve been pretty active in helping to MUSIC THAT YOU RELEASE? build the all-ages scene in NYC. I think that we’d live in a less violent world if there were more all-ages shows We want to create a safe space that anyone can where people could go and blow off some steam. enter in order to turn off his mind for a moment.

Our weapon is a song.

WE HEARD THAT THERE WAS A FIGHT BETWEEN TWO OF YOU THAT ENDED IN A PRETTY SERIOUS JAW INJURY. HOW WERE YOU ABLE TO RECORD AN ENTIRE ALBUM WITH ALEX’S JAW WIRED SHUT? HOW DID IT AFFECT THE SOUND YOU WERE GOING FOR, IF AT ALL?

CONNECT WITH THE SO SO GLOS:

We’re brothers and step brothers and we’ve gone through some shit. There were definitely some dark times that we’ve been through together. In the end, it’s all love. And yes, we recorded the entire first record with my jaw wired shut. We tracked the record instrumentally, and I did the vocals in a few days when I was semi-unhinged. The first track on the record, “The Fisticuffs,” tells the story of how it all happened.

We come together like Cain and Abel. We’re brothers.

facebook.com/sosoglos sosoglos.tumblr.com twitter.com/sosoglos

interview and photos by clare kim

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WHO IS AARON WEST, AND WHY IS IT SO IMPORTANT FOR YOU TO TELL HIS STORY? It’s not important. I don’t think it’s important. I think it’s something I wanted to do. I don’t know...

Importance is a weird thought. There are things I think are important in the world and I think this is just nice. But I think the explanation comes with the record. I’ve answered this already in other interviews. He’s just a guy having a bad year, and the record will tell you a whole lot more about it.

YOU RELEASED “BORROWED CHORDS” ON A HOPELESS RECORDS COMPILATION A FEW YEARS AGO UNDER THE SAME NAME. IS IT RELATED TO THIS UPCOMING RECORD OR IS IT JUST ANOTHER NAME YOU USED TO RECORD IN THE PAST? It’s a name I used to record, and it’s not necessarily the same thing. But if you wanted to consider it cameo, I think that… Do you know anything about wrestling?

NO, NOT REALLY. In wrestling, if something’s related to the storyline, they call it “kayfabe.” If it’s not part of the storyline, it’s called a “shoot.” They also say that if it’s part of the storyline, it’s called a “work.” So if you wanted the “shoot” answer, it would be that I recorded a song, I liked that band name, and then I went on to use the band name for a bigger project. The “work” answer, the “kayfabe” answer, is that the song was recorded when Aaron was still with his wife. It’s a song he wrote for his wife, and now, two years later, they’ve divorced and that song is no longer applicable.

WHAT WAS THE REACTION FROM HOPELESS WHEN YOU PRESENTED THE CONCEPT TO THEM? They just said, “Absolutely. We’re going to do it. You know you want to do it with Ace [Enders]? Great, let’s do it.” It was just kind of absolutely, “If you want to do that then that’s a thing that we want to be a part of.”

YOU BROUGHT A LOT OF PEOPLE ON FOR THE PROJECT--YOU’VE GOT ACE ENDERS PRODUCING, MIKE KENNEDY ON DRUMS, AND ALLISON WEISS DESIGNING YOUR WEBSITE… Allison Weiss did the website; Mitch [Wojcik] shot all the photos; Natalie [Schaffer] is my lovely publicist; Mike Kelly, former [keyboardist] of The Wonder Years, did the trumpet; Dave Heck, formerly of Reign Supreme, played the trombone; and my tour manager, John Ryan, played the saxophone.

HOW DID ACE, WHO HAS SEVERAL SIDE PROJECTS OF HIS OWN, CONTRIBUTE TO THE PROJECT? He brought an incredible amount to the project.

The way you heard those songs fifteen minutes ago was how the songs were written and given to Ace. I 21 // CONTINUUM MAGAZINE

walked in and said, “Here are the songs, I’m going to play them,” and then [Mike] Kennedy and Ace’s jobs were to fill those songs.

HOW DO YOU GET INTO THE HEADSPACE TO WRITE AN AARON WEST SONG VERSUS THAT OF THE WONDER YEARS? The story arc was decided, and, once the story arc was decided, it was about a lot of free writes.

I SAW IN ANOTHER INTERVIEW THAT YOU SAID YOU DID JOURNAL ENTRIES? Yeah, I wrote journal entries from a perspective.

Then I tried to pull lyrics from that and get into that space. I also did research.

THIS PROJECT IS VERY DIFFERENT FROM ANYTHING YOU’VE DONE BEFORE. WHAT DO YOU HOPE THE REACTION WILL BE FROM THE POPPUNK COMMUNITY AND FROM THE HARDCORE WONDER YEARS FANS? I mean, I would like them to take the time to listen to it and either appreciate it or decide it’s not for them. I don’t like the idea that it would be written off. If they don’t like it, that’s fine. But, actually, it’s been well received. There have been very positive reviews on the whole thing, and I’m very happy with it.

IS THIS HOW YOU’RE GOING TO BE PLAYING YOUR SETS DURING YOUR DATES ON WARPED TOUR? Yes, you’ll see literally that same exact setup, except hopefully my guitar won’t break.

HOW IS THE PREPARATION FOR AN AARON WEST SHOW DIFFERENT FROM THAT OF A WONDER YEARS SHOW? Well, it’s crazy different because I never play guitar in front of people. I was very nervous. I played one song with The Wonder Years, and so I spent the last month… I would spend everyday in my room with a camera and a microphone, and I would record myself playing that set, just like that. Every night, I would watch the video and self-critique.

DO YOU SEE THE AARON WEST STORY CONTINUING, OR DO YOU THINK THAT THERE ARE OTHER CHARACTERS THAT DESERVE TO HAVE THEIR STORIES TOLD? It’s so far from a thought I have right now. As far as writing music is concerned, I’m not going to start another Aaron West record right now because I have to write a Wonder Years record. I have to be a part of a team to write a Wonder Years record, so that’s my next focus. My focus right now is definitely on playing songs, getting the record out, and pushing it. As far as writing something else, it’s going to be down the line past another Wonder Years release.

SHOW REVIEW

If you listen to the many variations of punk music—pop-punk, emo, post-hardcore, etc.—you’ve probably heard of Dan “Soupy” Campbell and his wildly adored pop-punk band, The Wonder Years. After four relatively huge albums with TWY, Campbell started a brand new side project titled “Aaron West and the Roaring Twenties.” Under this moniker, Campbell released a full length LP titled We Don’t Have Each Other on July 8th. If the band’s first live show is telling of the quality of the overall project, then it certainly has the potential become just as beloved as The Wonder Years.

On June 26th, Glamour Kills’ office in New York City hosted a secret show for thirty lucky fans to watch the inaugural performance of Campbell’s new folk-influenced venture. After discussing all the bands on everyone’s wide array of t-shirt and eating pizza, everyone gathered around in the colorful GK office space and waited for the performance to start. Armed with only an acoustic guitar and a harmonica, Campbell proceeded to go very much above and beyond any and all expectations.

I’m going to admit that I’m a huge fan of The Wonder Years, and I highly respect Campbell as both a person and a musician. However, if I were to look at the performance from an unbiased standpoint, I wholly believe that my opinion would remain the same: an Aaron West show is not just a person singing songs, but an entire experience that establishes a relationship between performer and audience.

From the moment he entered the room, Campbell was determined to stay in character. He spoke in first person about Aaron’s history and recent struggles with his newly divorced wife to supplement each song with a small backstory. This added effort placed tremendous emotional weight behind each track, even before Campbell started strumming his guitar.

Each song was intimate, despite the clear emotional trauma that was implied in nearly every line.

Campbell still sang with the same cutting inflection and poignancy that has made so many people fall in love with The Wonder Years. The usual brashness in Campbell’s voice made everything seem like so much more than an act; it breathed life into this exceptional work of fiction.

Despite some technical difficulties during the final song, Campbell skillfully maneuvered singing and playing both guitar and the harmonica to procure the full, passionate effect of “Carolina Coast.” The short setlist effectively conveyed enough of Aaron West’s storyline for the audience to have a large scope of what the full album entails.

Overall, Campbell has truly pushed his lyricism to new heights, and Aaron West proved to be a performance that everyone should catch if given the opportunity.

aaronwestandtheroaringtwenties.com twitter.com/thisisaaronwest youtube.com/aaronwest facebook.com/aaronwestandtheroaringtwenties photos: provided interview and show review: morgan magid 22 // CONTINUUM MAGAZINE

WHAT ULTIMATELY INSPIRED YOU TO PURSUE MUSIC, AND, MORE SPECIFICALLY, TO AUDITION FOR THE VOICE? I loved singing and writing poetry when I was younger. It continued into my teenage years, and I began writing my own songs once I taught myself guitar. I started making YouTube videos; I was embarrassed whenever someone from school found them. I sang for my friends and family, and they told me they liked what I was writing and playing, so I just stuck with it. I think being able to tell stories and being able to actually make the songs is what made me want to pursue it more. I auditioned for The Voice randomly while seeing an ad for an online sign-up. I went to an open call, and it just kept getting further and further. It was never my intention to win, but instead to get to the point where people could hear me, look me up and find my original songs. All I wanted was an audience to tell my stories to.

HOW DID YOUR EXPERIENCES ON THE VOICE HELP YOU DEVELOP AS AN ARTIST? IS THERE ANYTHING THAT YOU WISH YOU COULD HAVE DONE DIFFERENTLY? I think being on the show made me aware of the TV world. I don’t think it did anything to help me as an artist, however, because I was singing other people’s songs instead of my own.

I don’t regret anything I did on the show. Everything works out the way it’s supposed to.

YOUR SINGLE, “DOLLHOUSE,” HAS RECEIVED A LOT OF BUZZ FOR ITS THOUGHT-PROVOKING AND RATHER DARK LYRICS. WHERE EXACTLY DID THE INSPIRATION FOR BOTH THE SONG AND THE MUSIC VIDEO COME FROM? “Dollhouse” is the story of a dysfunctional doll family. It’s sort of every suburban town’s story. Every house looks perfect and every family goes out and pretends that nothing is wrong. But inside the homes, people are fighting and crying and things aren’t as perfect as they seem. I had a great family life, but I know a lot of people in my town who didn’t. I think this was just inspired by my town, and by other people. I really wanted to tell their stories. As for the music video, I’m also a photographer and I always have a strong vision of how the video should be when I’m writing the songs. I’m very thankful to have had the two directors, Nathan Scialon and Tom McNamara, get my vision out there on video.

YOU HAVE A VERY DISTINCT AND UNIQUE SOUND THAT IS REFRESHING WHEN YOU THINK ABOUT THE STATE OF POP MUSIC TODAY. IF YOU COULD CHANGE ONE THING ABOUT THE MUSIC INDUSTRY, WHAT WOULD IT BE? I don’t know if I would change anything. I just wish people didn’t feel the need to compare new artists to artists they already know. I think every artist is different and should be treated that way. I also hate when people put artists in a box.

The whole point of being an artist is to make art. Who cares about what genre or slot it’s in? Good music is good music.

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THE WHOLE POINT OF BEING AN ARTIST IS TO MAKE ART. WHO CARES ABOUT WHAT GENRE OR SLOT IT’S IN? GOOD MUSIC IS GOOD MUSIC.

IN ADDITION TO CREATING MUSIC, YOU LIKE TO GET CREATIVE WITH PHOTOGRAPHY UNDER THE NAME LITTLE BODY BIG HEART PHOTOGRAPHY. ARE YOU AS SERIOUS ABOUT PHOTOGRAPHY AS YOU ARE ABOUT MUSIC? IN WHAT WAYS ARE YOUR PHOTOGRAPHY AND MUSIC SIMILAR? HOW DO THE INSPIRATIONS FOR YOUR PHOTOGRAPHY DIFFER FROM THOSE OF YOUR MUSIC, IF AT ALL? IS THERE ONE SPECIFIC PHOTO YOU’VE TAKEN THAT YOU ARE PARTICULARLY FOND OF? I’m very serious about my photography. It’s really hard to find time to shoot the way I used to, but now I can use it to make people understand the vision I have for my music. Every song has its own theme and story, and I can always think of a billion photo ideas to go hand in hand with each track. I shoot my own artist pictures, and I shot The Dollhouse EP cover. I love setting things up and making photos tell a story, similarly to what I do with my music. My music, my style, and my photographs all work together because they’re all coming from the same part of my brain, I guess. I just love to show people what I see. I have a bunch of photographs that I’ve taken that I love. Still I’m super hard on myself, so I don’t think I have a favorite.

JUST TO SHIFT GEARS A LITTLE, YOU’VE JUST WRAPPED UP A NATIONAL TOUR. WHAT HAS BEEN YOUR FAVORITE PART ABOUT TOURING? WHAT ABOUT YOUR LEAST FAVORITE? I think just being able to play for people and hearing them sing along to my originals is the best part of being on tour. My least favorite part would have to be waking up early to drive to the next place.

TAKE US THROUGH YOUR SONGWRITING PROCESS. AS A SOLO ARTIST, HOW MUCH OUTSIDE HELP DO YOU HAVE WHEN IT COMES TO WRITING NOT ONLY THE LYRICS, BUT ALSO THE MUSIC? Every writing session is different, but I love starting from scratch. I explain what I’m thinking for a track to a producer and we go through toy sounds and weird samples depending on what concept, theme, or story I have in mind. When the track is moving along, I get inspired and start free-styling melodies and story lines. I love starting from the first line of the song and going to the very last line. I don’t like focusing on the hook first, because I don’t care about it being a catchy song. The story and the theme of the song are more important to me. Then I work with either another writer or by myself and brainstorm lyric and melody ideas. After that, the song just starts to build.

ALTHOUGH YOUR EP, DOLLHOUSE, WAS RELEASED IN MAY, DO YOU HAVE ANY PLANS TO RELEASE A FULL-LENGTH ALBUM IN THE NEAR FUTURE? IF SO, IS THERE ANYTHING YOU CAN TELL US ABOUT IT? Yes. I should be finished writing the album after my trip to LA in July. I’ll be there the whole month writing the rest of the songs. The album is going to be called Cry Baby and it’s kind of like a creepy pack of childhood themed story books with dark or mature messages. It’s the contrast between light and dark.

WHAT DOES THE FUTURE HOLD FOR MELANIE MARTINEZ? Playing shows, releasing music, shooting music videos, and eating candy.

CONNECT WITH MELANIE MARTINEZ: facebook.com/melaniemartinezmusic melaniemartinezmusic.com twitter.com/MelanieLBBH youtube.com/user/Melmartinezx3 photos: provided interview by sarah hoffman

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posed photos and interview by clare kim live photos by sarah hoffman

BAD SUNS ONLY two short years after their inception, indie four-piece Bad Suns has already garnered a populous fan base, as well as respect and recognition in the industry. While most artists usually take several years of experimentation to establish a distinct musical style, the band— which is composed of Christo Bowman (vocals), Gavin Bennett (bass), Miles Morris (drums) and Ray Libby (guitar)—already emanates a cohesively established sound, which is quintessentially showcased in their debut EP, Transpose. Although the EP is only composed of four songs, each track comes together to form a collective paradigm for the band’s ethereal, postpunk sound.

Shortly following the band’s debut release in January 2014, they embarked on a whirlwind of a journey that brought them to their current heights. This mainly consisted of widespread touring, starting with their first shows around the US with Royal Bangs, an indie-rock trio hailing from Tennessee. Without a moment of hesitation, they played a set at the annual music and film festival, South By Southwest, and announced their upcoming tour supporting The 1975.

Despite these restless and hectic past few months for the quickly up-and-coming band, the boys are showing absolutely no signs of slowing down. In the midst of their extensive tour with The 1975 and Sir Sly, the band had been working diligently on their first full-length album, Language & Perspective. Quickly following the June 24th release of the album, they are set to play several US headlining shows throughout July and August in support of this debut release. It is clearly evident that Bad Suns has already captivated the attention and approbation of both fans and music critics alike, but Christo’s, Gavin’s, Miles’, and Ray’s collective ambition and talent will unequivocally foster their continual success for future years.

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HOW DID YOU GUYS COME TOGETHER TO FORM THE BAND JUST TWO YEARS AGO? Gavin and I met in junior high school, and the rest of us met through the live music circuit near Los Angeles. We all played shows in different bands, and, eventually, we all ended up in the same room. That’s when Bad Suns started.

IN THAT SHORT PERIOD OF TIME, HOW HAVE YOU MANAGED TO MAKE YOURSELVES STAND OUT? That’s a hard question to answer. All we’ve ever done is create music that we feel honestly depicts what it is that we’re all about. Our collective musical palette is quite expansive.

We put a lot of time, thought, and effort into making music and writing songs. What you hear is the product of that.

YOU WERE ON THE ROAD WITH THE 1975 FOR A FEW WEEKS. HOW WAS IT? ANY MEMORABLE EXPERIENCES? The tour was great for us. It was amazing to travel across all of North America and play so many shows in front of so many people. On our day off in St. Petersburg, we hit the beach and went jet skiing. That was some of the most fun I’ve ever had.

ARE THERE ANY BANDS THAT HAVE HAD A SIGNIFICANT IMPACT ON YOUR OWN MUSIC, INSIDE OR OUTSIDE OF YOUR GENRE? Tom Petty is a songwriter who really fascinates me. His ability to write great songs, year after year, is just amazing.

THIS QUESTION IS ACTUALLY FROM A FAN: WHAT IS THE STORY BEHIND “TRANSPOSE” FROM YOUR DEBUT EP? The lyrics to that song deal with anxiety, letting overthinking get the best of you, and overcoming those demons. That song is very specific to a moment in time that I’m sure everyone has dealt with and can understand.

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YOU JUST RELEASED YOUR FIRST FULLLENGTH ALBUM, LANGUAGE & PERSPECTIVE, LAST MONTH. WHAT WERE THE INSPIRATIONS BEHIND THE RECORD? The album is about entering adulthood and dealing with everything that comes with it.

Figuring out who you are, doubting who are, being disappointed with who you’ve been… All of that fun stuff.

SPEAKING OF, WHAT DO YOU WANT FANS TO TAKE AWAY FROM THE NEW ALBUM? First and foremost, I want people to enjoy it sonically. I think we achieved something really special with this album, melodically and musically. I hope that people will spend time with this album, grow attached to it, and learn more about it with each listen. I hope that it will provide the soundtrack for several experiences in people’s lives. There’s a tune for every mood, and I think that listeners will jump around between favorite songs.

DO YOU THINK THAT YOUR HOLISTIC SOUND HAS CHANGED AT ALL BETWEEN YOUR DEBUT EP, TRANSPOSE, AND LANGUAGE & PERSPECTIVE? We’re the same band and some of the EP songs appear on the album as well. That being said, the songs we chose to appear on the EP served as a first taste. There’s a lot of uncovered ground that we explore on the fulllength.

YOU GUYS HAVE GROWN TREMENDOUSLY IN THE SHORT TIME THAT YOU’VE BEEN A BAND. WHAT HAS BEEN YOUR PROUDEST MEMORY/ACHIEVEMENT UP TO THIS POINT? Thankfully, there are so many. We don’t want to be a “remember those days?” band, so we’re always looking forward. Every day that we get to wake up and continue doing this is viewed as a tremendous success for us.

BESIDES THE NEW ALBUM, WHAT CAN WE EXPECT FROM THE BAND IN THE NEAR FUTURE? A whole lot.

ALL WE’VE EVER DONE IS CREATE MUSIC THAT WE FEEL HONESTLY DEPICTS WHAT IT IS THAT WE’RE ALL ABOUT.

R A Y L I B B Y GUITAR

M I L E S MORRIS DRUMS

G A V I N BENNETT BASS

C H R I S TO BOWMAN VOCALS

braverijah gregg

P H O T O G R A P H E R / V I D E O G R A P H E R

interview by sarah hoffman all photos by braverijah gregg HOW LONG HAVE YOU BEEN PURSUING PHOTOGRAPHY/VIDEOGRAPHY? I have been filming and editing videos for a while now. I was about twelve years old--I’m twenty two now--when my dad first started teaching me how to use a camera. I didn’t start my adventure with photography until a year ago on Warped Tour 2013.

WHAT INSPIRED YOU TO GET INVOLVED WITH THE MUSIC INDUSTRY SPECIFICALLY? I actually kind of stumbled into the music industry.

I was working on some T.V. and movie productions when my friends in The Summer Set asked if I wanted to hit the road with them in 2012. I’ve always been curious about the “tour life,” so I took them up on their offer.

ASIDE FROM WORK WITHIN THE MUSIC INDUSTRY, DO YOU, OR DO YOU HOPE TO, PURSUE ANY OTHER TYPES OF PHOTOGRAPHY/ VIDEOGRAPHY? I want to do a bunch of things! I guess one of my end goals is to do my own feature films or other projects that I cook up. On the photography side, I would love to just keep experimenting and traveling as much as I can. Photography is really exciting, and since it’s somewhat of a new passion of mine, I want to run with it and see where it goes... Whether it’s music, portraits, landscapes, lifestyle, etc. I love it all!

HAS THERE EVER BEEN A MOMENT WHERE YOU’VE BEEN TOTALLY SATISFIED WITH YOUR WORK? WHAT ABOUT THE OPPOSITE? Yes. I am constantly satisfied with my work, until I look at it for too long. Haha. It’s weird. When I get a shot that I like, I’m so stoked on it. Then I edit it and I’m still just as happy. But when I go to look at it day later, or even that same night, I find all of these little imperfections that bum me out. I use that to grow and slowly perfect my work. Still, I doubt that I’ll ever get to a point where I think that my stuff is perfect.

ALTHOUGH YOU WAKE UP IN A NEW CITY EVERY DAY, THE PEOPLE AND SITUATIONS YOU ARE IN WHILE ON THE ROAD ESSENTIALLY REMAIN THE SAME. HOW DO YOU MAINTAIN A RENEWING SENSE OF CREATIVITY EACH DAY, RATHER THAN FALLING INTO A REPETITIVE ROUTINE? Ahhh, it is so easy to fall into a routine! The way I avoid it is by always trying to explore the city I’m in, preferably with some people on the tour. Even 43 // CONTINUUM MAGAZINE

something as simple as walking to find a spot to eat at turns into an adventure. Just get out of the venue. Who knows what kind of cool locations or situations you’ll find yourself in?

CAN YOU TALK A LITTLE ABOUT YOUR RABBIT LOGO AND WHAT IT MEANS TO YOU? Well, my brother, Mcabe, and I grew up hunting rabbits together in the Arizona desert.

When we both started making videos, we wanted a name for our projects, and preferably one that reflected our brotherhood. We figured the rabbit thing made some sense since we were still shooting things together, only now with cameras instead of guns.

WHAT KIND OF ADVICE DO YOU HAVE FOR ASPIRING PHOTOGRAPHERS WHO ARE TRYING TO MAKE THEIR WORK STAND OUT? Shoot as much as you can and always have your camera with you. Although it’s VERY important to work on your camera skills, you

also have to have an interesting subject to capture. I think the photos that stand out the most are the ones that you don’t expect. They just come at random times and, since you’re the only one there to capture them, they’ll stand out!

WHERE DO YOU SEE YOURSELF IN THE FUTURE? DO YOU THINK PHOTOGRAPHY WILL ALWAYS BE A PART OF YOUR LIFE? I am one hundred percent certain that photography will be a part of my entire time on this earth. I love it too much for it not to be. If I can make a profession out of it, great, so long as money or clients don’t hinder the fun that I’ve felt since day one.

CONNECT WITH BRAVERIJAH GREGG:

deadrabbitpictures.com facebook.com/DeadRabbitPictures twitter.com/braverijah

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JAWBREAKING WHAT INSPIRED YOU TO CREATE JAWBREAKING, AND HOW DID YOU COME UP WITH THE NAME? To be honest, in the beginning, nothing really “inspired” me to create Jawbreaking.

It started as a little side project to make some extra money because I was too lazy to get a real job. Of course, once I started, I couldn’t stop, and I ended up falling in love with what I was doing. The story behind the name is actually pretty silly.

“Jawbreaking” was originally “Jawbreaking Jewelry,” and I was basically looking for another word that started with a “J” to alliterate with “jewelry.” I literally looked up “words that start with J” and came across “jawbreaker” and “jaw-dropping.” I combined the two, and Jawbreaking was born.

HOW HAS JAWBREAKING DEVELOPED SINCE ITS INCEPTION? HAS THE CREATIVE DIRECTION CHANGED AT ALL? Jawbreaking has changed so much in so many ways. I think starting a business at fifteen has a lot to do with it, since I’ve actually grown up with it. I’m twenty-one now. As I grew up and matured, so did our collections and designs.

YOU’VE HAD QUITE A BIT OF SUCCESS, AND ARTISTS SUCH AS ONE DIRECTION, 5 SECONDS OF SUMMER, DEBBY RYAN, ED SHEERAN HAVE BEEN SEEN SPORTING YOUR DESIGNS. WHAT DO YOU THINK SETS JAWBREAKING APART FROM THE COUNTLESS OTHER UP-AND-COMING CLOTHING LINES? We have a really close relationship with our customers thanks to social media. Unlike a lot of companies, we take the time to respond to all the tweets and comments we receive. I love showing our customers how we do everything, so it’s great to have things like twitter, instagram, etc. to be able to show them and communicate with them.

WHAT IS YOUR FAVORITE DESIGN, PAST OR PRESENT? Such a hard question! Right now, I really love our Pineapple Vibes design. My stepbrother, Jesse, drew it for us. He’s an awesome artist.

WHERE DO YOU DRAW INSPIRATION FROM WHEN IT COMES TO DESIGNING A NEW LINE? My inspiration comes from everywhere.

I pull a lot just from my life. For example, our “Love You More” design is something that I say to my boyfriend all the time.

I’m also inspired by music, movies, and whatever else surrounds me and interests me.

IS THERE A TYPE OF CLOTHING OR ACCESSORY THAT YOU HAVEN’T DESIGNED AND SOLD THAT YOU WOULD LIKE TO EVENTUALLY? Although we are already an apparel brand, I want to go beyond the graphic t-shirts and start designing our own cut and sew items.

WHAT IS IN STORE FOR JAWBREAKING IN THE FUTURE, AND WHAT DO YOU ULTIMATELY HOPE TO ACHIEVE WITH THE COMPANY? So much is in store and nothing is for certain, but it’s up to me to make stuff happen. We’ll just have to wait and see!

Ultimately, I want to continue to do this for as long as possible and to love it just as much as I do now, if not more!

CONNECT WITH JAWBREAKING: shopjawbreaking.com twitter.com/shopjawbreaking instagram.com/shopjawbreaking

photos: provided interview by sarah hoffman

PHOTO BY ARIEL KASSULKE

PHOTO BY ARIEL KASSULKE

PHOTO BY EMILY TANTUCCIO

PHOTO BY CLARE KIM

PHOTO BY CLARE KIM

PHOTO BY CLARE KIM

PHOTO BY CLARE KIM

PHOTO BY LORI GUTMAN

PHOTO BY LORI GUTMAN

PHOTO BY LORI GUTMAN

language & perspective artist: bad suns release date: june 24th, 2014 review by clare kim It’s becoming increasingly evident that indie newcomers Bad Suns possess a persistent sense of determination that few bands seem to fully grasp.

In January 2014, the Los Angeles natives released their first EP, Transpose, which received a surprisingly high amount of appraisal. Considering it was the band’s first release since its 2012 inception, it’s safe to say Bad Suns was off to a good start.

After showing no signs of slowing down, the band has released their debut full-length only six short months after their EP release. Language and Perspective can serve as somewhat of a follow-up to Transpose. Aside from the fact that it includes three tracks from the EP (“Cardiac Arrest,” “Transpose,” and “Salt”), the new album also upholds and expands upon the contemporary post-punk sound that the band formerly established through their first release.

Although a lot of artists are able to produce a sonically pleasing record, many struggle to accompany this with significant, genuine lyrics. However, with Christo Bowman’s alluring vocals, Bad Suns does a rather exemplary job of achieving lyrical excellence. Although the tracks manage to cover a wide range of everyday issues, the fundamental concept seems to focus on the thoughts formed by anxiety-ridden psyches. This theme is conveyed several times throughout the album: “All of my anxiety, there’s no cause that I can see, what’s this scratching at my brain?” (“Transpose”), “Lost circling a moment deep inside my head, I find myself enamored with an answer that does not exist” (“Matthew James”), “My inner compass points me to the unknown” (“Pretend”).

With eleven tracks that range from anthemic to angsty and everything in between, Language and Perspective succeeds in appealing to a wide array of listeners. Despite the diversity, each track seems to complement one another in order to collectively create a cohesive album. Language and Perspective serves as the clear start of Bad Suns’ journey towards carving out an exclusive sound within the music industry.

a will away/head north split

artist: a will away and head north release date: july 22nd, 2014 review by morgan magid For a local band to finally shed its “local” title, many factors need to come into play. It has to have a powerful network of other bands and press people, a great sound, and a decent sized following, just to name a few. A Will Away is an energetic up-and-coming band hailing from Connecticut that has at least a couple of these elements going for it. As a member of the New Jersey-based label, the Mayflower Collective, A Will Away has been working hard to develop its sound. Recently, the band teamed up with Head North, another rising star on the label.

HN operates out of Buffalo, New York and joined the collective this past month. After these two punk/alternative acts finished up their East Coast tour in May, they joined forces to make a short yet engaging split that was released on July 22nd.

A Will Away kicks off the record with “Dusk.” At barely a minute long, the track gets right to the point and is an excellent sample of the band’s emo-punk fusion. Quick riffs from Collin Waldron and Matt Carlson blend beautifully to generate an angsty sound that flows slickly into “Transparent People.” Low vocals combine with strong instrumentals to serve up the catchiest song on the entire split. The chorus, backed by Carlson’s powerful vocals, is poignant and bitter punk rock. This is a song that should translate well to the band’s live show, and it is definitely something that will get audiences moving.

Ending this side of the split is the more placid track, “Home.” Featuring a very different tone than the rest of AWA’s songs, “Home” is an acoustic-guitar driven number that is dripping with emotion. As Carlson first sings, “You said ‘home is in my heart,’ ” there is a moment of nearly pure pathos. The vocals get rougher and raspier as the song progresses. In this instance, the harshness is a positive, as it creates additional fervor within the song. To top it off, the layering of vocals adds an excellent dimension to the track. This is not the cliché pop-punk (and all encompassing genres) song about missing home. The softer style of it may not be incredibly original, but it serves them well. As A Will Away continues to grow as a band, I'm sure we’ll see different approaches towards writing and recording.

Next up, Head North takes over with “In The Water.” Ben Lieber pushes everything forward from behind the kit as quiet vocals build a hushed atmosphere during the song’s opening. While the vocals aren’t perfectly polished, they hold a unique weight behind them, especially with the effectiveness of having tandem singers. A very Mineral-esque musical style is obvious here and the results make for great, sad rock music.

Head North finishes the split off with “Poor Posture,” an aggressive riff-laden track. It’s a breakup song with vitriolic lyricism that allows for a very raw style, and it succeeds in showcasing the diversity of Head North’s sound. There is a heavy focus on guitar-work as Alex Matos supplies a fast bassline. Are the lyrics “I hope you forget the name of every boy you sleep with and you run out of excuses for it to tell yourself you’re fine” a tad immature? Perhaps. But the potential that this young band has to grow is exponential, especially once they find their niche.

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