Issue #40

issue 40

HIGHLIGHT

MAGAZINE

THE GRISWOLDS – FUNERAL FOR A FRIEND – I THE MIGHTY – THE WOMBATS & MORE

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editor-in-chief jenn stookey

IGHLIGH

co-founder – art director cara bahniuk co-founder – photo editor ashley osborn managing editor jessica klinner online editor nick yacovazzi copy editor courtney dondelinger digital marketing manager olivia adams co-founder – legal – finance mckenzie hughes contributing photographers

cara bahniuk, demi cambridge, jordan fischels, lori gutman, rachel kober, casey lee, charlie martel, natalie montaner, savana ogburn, ashley osborn, heather phillips, sam polonsky, taylor rambo, sam roenfeldt, nicole fara silver, kara smarsh and clark terrell

contributing writers (online & publication)

lauren ball, haley black, jennifer boylen, geoff burns, haley buske, colleen casey, rebecca del castillo, ally fisher, trevor figge, patrick filibin, annette hansen, jessica klinner, zoe marquedant, bridjet mendyuck, theresa pham, alyssa schmidt, catie suliga, nick yacovazzi and bailey zeigler

digital marketing team

geoff burns and tim mcgovern

news posters

laura arthurs, kristen torres, samia mirza and sarah akomanyi

_________________________ website twitter highlightmagazine.net @highlightzine facebook instagram facebook.com/highlightmagazine @highlightzine _________________________ thank you

thank you young rising sons, christine wolff, kim clabby, golightly media, equal vision records, major transmission, brixton agency, press here publicity, sacks co, stunt company, mercenary publicity, tell all your friends pr, james shotwell, stheart, jessica klinner, bullhorn publicity, megaforce records, and all of the amazing musicians in this issue + our wonderful readers. thank you!

_________________________ 06 young rising sons sam polonsky

07 citizen andy swartz

the griswolds heather phillips

the wombats cara bahniuk

stheart provided

i the mighty ashley osborn

funeral for a friend demi cambridge

walk the moon heather phillips

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june

05 this or that 08 clothing highlight 11 label highlight 12 venue highlight 14 industry highlight 18 highlighted artists 19 film highlight 20 op-ed 26 citizen 28 the griswolds 30 funeral for a friend 34 i the mighty 38 the wombats 42 young rising sons 48 tour round up gates o’brother loma prieta the antlers walk the moon 58 reviews

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THIS

OR

10%

90%

100%

0%

80%

20%

STEVE AOKI

CAPTAIN AMERICA

THAT

CALVIN HARRIS

THE HULK

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YOUNG RISING SONS 42

THE GRISWOLDS 28

STHEART 8

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FUNERAL FOR A FRIEND 30

26 CITIZEN

38 THE WOMBATS

34 I THE MIGHTY

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48 TOUR ROUND UP

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ST HEA R T. C OM WHAT IS THE STORY BEHIND STHEART? Stheart, pronounced “stärt” (don’t over think it, haha), is the combined definition of the words start & heart - turned into a lifestyle. Start means “to do something” & heart is the passion for whatever it is you do.

After tossing around the idea of design & clothing for some time, the first shirt was created/printed in September 2005.

We didn’t even have an online store for the first year or two. It’s actually really cool thinking back to our grassroots; it was all word of mouth, almost zero social media. All that mattered was what you went out and did. It’s a foundation that stheart is very thankful to have built itself upon.

WHAT YOU FEEL YOUR BRAND REPRESENTS? Do more, feel more, care more. Stheart is for the people out there that won’t settle for less & continue to push further with each day. Do something & let it consume you.

WHY DID YOUR START YOUR BRAND? To simply share a vision with the world… and also make cool clothes.

THREE PERSONAL FAVORITE DESIGNS? Braderick Flannel This is one of the most involved pieces to date. It has opened our eyes to a whole new world of quality, showing us that we are always capable of doing more. We spent nine months developing our button-ups and building a solid relationship with our manufacturer. Nothing was overlooked on the Braderick.

Rock Solid From a collection this past year, our Rock Solid piece was one of our favorites to date. Not only was it a cool collection to design, it represented several aspects of the brand. The aesthetics capture our bolder style along with our intrigue for the world around us. Inspired by a hike in northern California, it’s all about exploring & creating new experiences. See life in your own way and believe in it, follow through, be rock solid.

Alchemy These four symbols set a tone for stheart & continue to be a staple piece years after their creation. The symbols represent life, death, time, & eternity – a versatile concept that most can connect with. The symbol we created for “time” has been used even further as more of a logo for us. This symbol is in the shape of an hourglass, and the line shooting through it represents the singular direction of time. You’ve got one shot to live in that moment; it’s a great reminder for us. Each symbol has it’s own purpose & story behind it.

WHY PEOPLE SHOULD CHECK OUT YOUR BRAND: ‘Cause we are awesome & we make awesome stuff.

But really, we are not a brand to overhype what we do.

Everyone has their own taste in visual beauty & what intrigues them. If you like it, you like it. If you do happen to enjoy our style, then you’re in for a nice surprise as you dig further into our thought process, our quality and passion for what we do.

f /stheartclothing | t @stheart | i @stheart | o stheart HIGHLIGHTMAGAZINE.NET - 9

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YOU MAY WANT TO LISTEN TO...

It’s no secret the deep South has produced some of the greatest musicians of all time. Take country superstar Faith Hill, the late blues legend B.B. King and the king Elvis Presley for example— all of who were born and bred south of the Mason-Dixon Line. But over the years, Mississippi has reached beyond its blues and country roots by becoming quite the haven for budding indie-rock music. While Fat Possum Records set out in 1991 with a blues focus aimed toward discovering new artists, the label broadened its scope by signing younger artists and ultimately crafting an impressive roster of indie-rock acts, which includes the likes of Grammy-nominated Band of Horses, Modest Mouse and Grammy-winner, The Black Keys. With the mantra “We’re trying our best,” the Oxford, Mississippi-based label has certainly done its best, and just this year alone has had a hand in releasing 24 records.

AMERICAN WRESTLERS With alt-rock melodies heavy on the lo-fi, American Wrestlers brilliantly showcase the more recent sound Fat Possum has managed to cumulate with its artists. Though American Wrestlers can provide listeners with a good idea of the overall Fat Possum aesthetic, the project, headed up by Gary McClure (formerly of U.K. band Working for a Nuclear Free City), undoubtedly carries its own distinct presence with a refreshing sound riddled with poetic charm. More impressively, American Wrestlers’ self-titled debut album (released April 7) was recorded entirely on an 8-track recorder at McClure’s home.

Listen To: “I Can Do No Wrong”

THE BLACK KEYS Arguably one of the most well-known and successful acts on the Fat Possum roster, The Black Keys really need no introduction. After releasing their sophomore album, Thickfreakness, and third full-length, Rubber Factory, to critical acclaim on Fat Possum Records, the duo went on to sign to much larger labels, eventually inking deals with Warner Bros and Nonesuch Records before releasing their first-ever No. 1 debut record in both the United States and Australia with their latest effort, Turn Blue, in 2014.

Listen To: “10 A.M. Automatic”

THE DISTRICTS The Districts have had a busy year. After signing to Fat Possum Records for the 2015 release of their debut album, A Flourish and A Spoil, the four-piece outfit from small-town Lititz, Pennsylvania, have toured non-stop, including a stint at South by Southwest and a television appearance on Late Night with Seth Meyers. The band also performed at this year’s Hangout Music Festival and is slated to take the stage this month at both Governors Ball and Bonnaroo.

Listen To: “4th and Roebling”

WORDS: Alyson Stokes

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VENUE HIGHLIGHT SCHUBAS TAVERN - CHICAGO, IL

HISTORY Built in 1903, the Lake View building that Schubas Tavern now calls home was one of many owned by Schlitz Brewery.

Fast forward to 1988 when brothers Chris and Mike Schuba bought the building, renovated the place and launched the Schubas Tavern empire. As of 2007, the venue expanded to an adjacent building with a full restaurant named Harmony Grill. Schubas has been one of oldest legacies in the Chicago music scene (aside from Joe Shanahan of The Metro), but just last month, Chris and Mike sold their business to Audioleaf, a hybrid of local Chicago company Audiotree and Michigan-based Greenleaf. Although Mike will remain as operations manager and not much is expected to change, this is definitely a new chapter in this venue’s story.

WHY PLAY HERE? Schubas is one of the most well-known and well-loved clubs in the city. As a musician, if you can sell out Schubas on a Saturday, your career is on the right track. As a patron, Schubas is the ideal place to hang out and see some great music.

The majority of the programming falls under the rock umbrella, and the venue hosts local and touring acts every night of the week. If the variety of music doesn’t win you over, the rest of the venue’s amenities will. The sound in Schubas is excellent, the food is delicious, and the drink prices won’t empty your wallet. The venue is separated into two parts; the front of the venue is a bar, and the show room is toward the back. This makes the music feel much more intimate and special with a closed off room and its cozy stage. With a warm but rock vibe, Schubas is the ideal place to hang out for any music lover. /schubas

/lincolnhallschubas

WWW

lh-st.com

JUNE 12TH

JUNE 18TH

JUNE 30TH

Kate Tempest

Son Little

Miami Horror

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REVIEW: Jennifer Boylen

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s e m a j l l e w t sho I N D U S T R Y

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NAME: James Shotwell LOCATION: Boston, Massachusetts (by way of West Michigan) COMPANIES: Antique Records, Under The Gun Review & Haulix WHAT IS YOUR PERSONAL STORY/WHY DID YOU GET INVOLVED IN THE INDUSTRY? My story begins with the necessary move from Ohio to Michigan my parents made for work purposes right before my first day of fifth grade. I pick that time because it’s during the many trips between the two states that I forged a deep, lasting connection with music. I didn’t have siblings to share the transition with, so my parents bought me music to listen to while we were looking for houses, packing, etc. One was Metallica’s Garage Inc and the other was The Beastie Boys’ Hello Nasty. I was probably too young to have either, in reality, but fortunately my parents were a bit lenient in that respect.

I listened to those two records on repeat for months, and when I found myself at a new school with no friends, they were my pals. That relationship, in which I found solace and comfort in the sounds pouring through my headphones, became the most important connection in my life, and in many ways that remains true today. Music, and if we’re being honest I should just say art in general, is my best friend. When I found the confidence to try my own business, or website, or band, or even asking a girl out, there was always music by my side. Sometimes it was a single song, but other times it was an album, or even a compilation I had created while sitting amongst the massive music collection my family had accumulated over the years.

When I reached that point in school where everyone is asked what they want to do with their lives, I knew I wanted to make more people feel about music the way I felt. For a long time, I confused doing that with convincing people to like exactly what I like, but I like to think I’ve matured from that point. These days, my biggest goal is to introduce people to the next thing that will change their life. Be it a song, an album, a movie, or even a performance, I want to find the best works the creative minds of this world can create and share them. I also want to encourage others to do the same.

WHAT ARE THREE OF YOUR MOST MEMORABLE CAREER MOMENTS? Hmm. This is something I don’t believe I have ever been asked. Let’s see…

Landing the job I have now at Haulix. It was the first time I felt someone truly believed in me and my abilities other than my friends and immediate family. It’s the most fulfilling job anyone could ask for, at least in my opinion.

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The vinyl release of Sledding With Tigers’ album ‘A Necessary Bummer’ on Antique Records. It was our first vinyl, and I had probably spent about a decade of my life wanting to press something up to that point. Not only did I fulfill my dream, but I was able to do it while working with an artist I love on a label I own!

This is a bit of a cheat, but I feel like I can recall every time someone has told me they love a specific article or review I’ve written. It’s not something that happens very often. In fact, receiving compliments for ‘doing your job’ in music is rare in general, but every so often someone reaches out and let’s me know I made an impact on their lives. That means everything to me.

YOU WEAR SEVERAL DIFFERENT HATS IN THE MUSIC INDUSTRY—FOUNDER AND EDITOR AT UNDER THE GUN REVIEW, CO-OWNER OF ANTIQUE RECORDS AND MARKETING COORDINATOR AT HAULIX. DID YOU EVER IMAGINE THAT YOU WOULD BE INVOLVED IN SO MANY DIFFERENT AREAS OF THE INDUSTRY? IS THERE AN AREA YOU HAVEN’T BEEN INVOLVED WITH THAT YOU’D LIKE TO EVENTUALLY VENTURE INTO? I always wanted to work in marketing. That was pretty much my main goal from day one, but I don’t know that I always knew just how many things I would actually be able to try if I so desired. I come from a small farming community where most people end up living in the same zip code they were raised in, so the idea of doing anything in entertainment at all, outside of teaching band at the local high school, seemed pretty impossible until about six or seven years ago. When I launched Under The Gun, I had experience in radio and label promotion, but that was largely regional work. UTG allowed me to tap into the international music community, and I think I just got addicted to the thrill of the hustle from that point forward.

As far as what I’d like to do that I have yet to accomplish or even attempt, I don’t really know. Haulix has given me the exact career I think I always wanted, even if I didn’t know such a role existed until the opportunity presented itself. I really feel like I’m a part of something special with that role, and I want to continue developing the forward-thinking community of music professionals we have cultivated over the last two years together. I also want to see how Antique and UTG continue to flourish, but Haulix is the main focus.

If anything, I would like to eventually transition into a teaching role, but I really hate the idea of incurring additional student loan debt to do so. So, I don’t really know if that dream will ever go anywhere, but I guess we shall see.

WHAT IS THE MOST REWARDING PART OF YOUR JOB(S)?

Let’s just run through all 3…

Haulix - The most rewarding part of this job is connecting with passionate music professionals and those aspiring to one day work full time in the music business. I spend the majority of my time talking shop, learning from others’ experiences, and doing my best to encourage people around the globe to do whatever they can to contribute to the future of the music business. Matt, the founder of Haulix, is a big believer in the importance of cultivating a community driven by the desire to see our industry thrive, and I feel incredibly honored that he trusts me to lead those efforts.

UTG - I touched on this above, but whenever someone tells me that my review lead them to discover something they enjoyed that they might not have otherwise sought out, my heart swells to a size that is probably considered quite dangerous in the medical community. In recent times, those comments often relate to my writing on film instead of music, but it makes me feel good all the same.

Antique - This one is special because every time someone orders a record I feel like I made a new friend. The bands we work with are the groups we love, and most are not very well known outside their state, but we have been fortunate enough to produce releases that have shipped to more than a dozen countries across five continents. Each order comes with a handwritten thank you note, often penned by me, and many eventually end up posted online by people who claim our message made their day. Knowing we can have that kind of positive impact on people around the globe is just…amazing.

YOU BUILT UNDER THE GUN REVIEW FROM THE GROUND UP, AND IT’S NOW A WELL-RESPECTED AND THRIVING MUSIC WEBSITE. WHAT HAS IT BEEN LIKE WATCHING THE SITE GROW OVER THE YEARS AND DEVELOP INTO WHAT IT IS TODAY? IS THERE ANYTHING YOU’D CHANGE ABOUT THE PROCESS? In 2010, I sold UTG to a media company along with a few other fast-growing alternative outlets (PropertyOfZack, AlterthePress) after we were each promised brilliant futures with steady pay for our work, updates for our sites, and more or less the exact dream I think we were working towards. What we actually got, unfortunately, was nothing like we were promised. I legally can’t go into details here, as we’re still fighting our way to freedom, but with all our success, the writers of UTG have largely gone unpaid due to a lack of support from these overseers we mistakenly signed to when we were all incredibly young. I sometimes wonder if we would have been more successful today if we had never gone the corporate route, or at least been more financially stable, but I know I will never know the answer.

You live and you learn, then you share your knowledge so others can do better. So please, learn from me.

YOU’RE VOCAL ON SOCIAL MEDIA ABOUT THE IMPORTANCE OF CREATING ENGAGING AND ORIGINAL CONTENT. THIS IS SOMETHING YOU’VE EXECUTED THROUGH YOUR WORK WITH UTG AND HAULIX. WHY DO YOU THINK THE INDUSTRY NEEDS MORE CREATIVE AND ORIGINAL CONTENT INSTEAD OF CLICK BAIT? As someone who has given nearly a decade of their life to creating content for the internet, I can tell you there is nothing that gives me more pride in my day than creating something unique, engaging, and undeniably born out of my own perspective on life. Everything else, the listicles and disposable news posts about bands I don’t always care much about, are material that largely exists for nothing more than growing traffic. Not developing an audience, mind you, but growing traffic. The difference being, an audience is comprised of people who actively engage in your work. They read and react, be it by commenting or changing their shopping habits. They do this because they felt a connection with your writing, and to me, there is no better sign of success as a writer than the ability to connect with others.

Furthermore, I’m a big believer that we must be the change we want to see in life. When I log on to read about entertainment, I want to actually find something worth reading. Gif-driven lists are fun from time to time, but they are only enjoyable for a brief moment, and then they’re largely forgotten forever. There is no substance, and if content lacking depth is all we create, be it for traffic or the almighty advertising dollar, then soulless content will be all there is to enjoy in no time at all. If we want quality content, then we must take it upon ourselves as writers to create the highest quality content we are capable of creating. That’s what I try to do every single day, and I encourage others to do the same.

IS THERE ANYTHING ELSE YOU WANT TO ACCOMPLISH? I have been kicking around this idea for ‘Haulix Live’ since January, and I really want to see it materialize in the fall.

The basic concept is that we bring myself and three or four additional music professionals to high schools and colleges across the nation to discuss the realities of working in entertainment, the roles we each have, and how those passionate about this industry should go about landing their dream job (spoiler: it requires a lot of work). We have some schools in mind, and I have some people who have volunteered to help, but there are a lot of minor details that need to be figured out before we can actually put things into motion. t @UTGjames underthegunreview.net haulix.com antiquerecs.com

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HIGHLIGHTED

ARTISTS ANOTHER OCTOBER Location: Grand Rapids, MI Current Record: Prefix Members: Chen Flakes – Vocals/Guitar/Piano, Zach Burger – Vocals, Guitar, Nick McAnallen – Bass/Vocals & Kaleb Lorrain – Drums/Vocals

Pop sensation Another October are on the verge of something big. The group from Grand Rapids, Michigan creates lasting, catchy pop melodies with high-energy riffs. Vocalist Chen Flakes leads a group of charismatic pop musicians to mesh spacey synths and poppy licks.

GRIZZLY BUSINESS Location: San Diego, CA Current Single: “Rich Girls” Current Members: Walter Ayllon – Guitar/Vocals, Matthew Burke – Drums, Corey McComb – Guitar/Synth & Brian Vilven – Bass.

Roaring onto the scene is San Diego’s Grizzly Business. The group takes retro indie-rock and gives it that soulful sense of wonder. Specializing in warm guitar tones and iconic riffs, this band is one you should be sure not to miss.

THESE WHITE KIDS Location: Los Angeles, CA Current Single: “Sneak Out” Just as crazy as they are talented, hip-hop duo These White Kids are ready to party. Based out of Los Angeles, the duo comprised of the boys BB The Jerk & ATM combine the beats of LMFAO with the terrifying flow of The Beastie Boys to deliver an unrelenting sound.

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WORDS: Nick Yacovazzi

HIGHLIGHTED

FILMS

QUEST FOR CUBA: QUESTLOVE BRINGS THE FUNK TO HAVANA

Ahmir Khalib Thompson, known professionally as Questlove, is a Grammy Award-winning drummer and record producer. Although the percussionist has taken part in several music projects and endeavors over his extensive career, he is most recognizable as the drummer for The Roots, which he helped found in 1987. The band served as the house band for Late Night with Jimmy Fallon from 2009 to 2014 and assumed the same role when Fallon moved to The Tonight Show.

When he’s not playing with The Roots, Questlove continues spreading music and exploring sound as a DJ. His recent shows at Havana’s Fabrica de Arte Cubano were captured in the mini-documentary, Quest for Cuba: Questlove Brings the Funk to Havana. The documentary not only features cuts from Questlove’s shows, but also shots of him digging for records, talking to local musicians and exploring a music scene that has been largely cut off from parts of the world.

Questlove had visited Cuba before this trip. His last show in the country was almost a decade ago, but due to the embargo and strained diplomatic relations between America and Cuba, he had not returned. Questlove traveled extensively with The Roots, but the Cuba show stood out among the rest. When reflecting on their touring schedule, he said, “When the machine was heavy, before late night television, we were doing at least somewhere between 210 to about 260 shows a year.” He maintained that, “The place that meant the most to me to come to was Havana, Cuba.”

On his previous trip, Questlove played a venue called The American, arriving to a street flooded with people the night of the set, which was marked by an exchange of positive energy and an appreciation of all genres. Questlove sought to achieve this same level of communication between musician and audience upon his return. He said his mission was “to explain to people that hip hop just isn’t playing rap music. It’s playing Cuban music, American music, jazz music, playing rock music, soul music, electronic, reggaeton, reggae, playing every genre of music and putting it together. That’s the real definition of what hip hop is.”

This exchange of cultural ideas came about when Questlove went shopping for records before his show. While thumbing through the crates of vinyl, he received a crash course in both Cuban music and culture from the record aficionados helping him make his selections.

The history of how music traveled, was produced and shared, pre and post-revolution, was easily followed through the stacks of music that Questlove perused. From prohibited American music, signaled over from Key West, to iconic Cuban musicians, he walked out with a collection of historical records under his arm.

Questlove also visited EGREM Studios in Old Havana. The studio, which was founded in the 1940s, stopped recording during the revolution and appeared relatively unused when the musician entered. It had been privately owned and was nationalized during the revolution, but beforehand was where many of the records that Questlove shopped for earlier in the day were recorded. This included musicians like Los Van Van, Irakere, Pablo Milanes and Silvio Rodriguez.

Jorges Rodriguez, the producer and EGREM artistic director who lead the tour, described the cross-pollination and collaborative efforts of American and Cuban artists during that period. Questlove wandered the studio, pulling various instruments from their cases, tapping their keys and eyeing the recording spaces. In the midst of his visit, Questlove expressed that his “dream now is to come back here and not do this one show a decade thing.” The artist recognized the potential for the exchange of ideas, a need for conversation and a willingness amongst the Cuban people to make that trade with him.

Reflecting on his reception, both in the past and present, he noted how he had “never seen a place more appreciative, more respectful of musical culture...all [types] of music.” Having noticed this, Questlove again resolved to return. “Clearly the people want something and while I have the means and the monetary means to do it, I want to give it to them...I think it’s important...A lot of times artists are just motivated by the financial end of it. You know, you’re not going to make a profit coming down here, but you’re gonna have something better you’re gonna feed your soul,” he said. Hopefully with diplomatic relations improving, Questlove will be able to return to Cuba and continue this spread of ideas for shows to come, but in the meantime, Quest for Cuba subtly captures the potential of the exchange and the wish from musician and music fan for the conversation to continue.

REVIEW: Zoe Marquedant

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CALM WALK TO THE STAGE NO

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“The real question is what to live for. And I can’t answer it. Except another one of your records. And another chance for me to write.

Art for art’s sake, corny as that sounds.”

– Lester Bangs, Psychotic Reactions and Carburetor Dung

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Lester Bangs and I have a lot in common. At least, I’d like to think so. We each have December birthdays, share a love for music, and are published writers—though his published works are much more prominent than mine. We could have been great friends, but tragically, he passed away in 1982 at the age of 33. Today, his legacy lives on in his writing, and in the 2000 film, Almost Famous, which follows William Morris, a 15-year-old writer for Rolling Stone, as he navigates the psychedelic and mind-bending world of touring in the 1970s. Bangs’ character, portrayed

by Phillip Seymour Hoffman, serves as a mentor for young Morris. In a scripted phone conversation between the two writers, Morris thanks Bangs for being home to answer the call. Bangs responds, “I’m always home. I’m uncool.”

“Greetings,” the email started. “I would like to extend a welcome to being involved with Highlight Magazine!”

And that’s where my story begins.

My first article was published in Highlight Magazine in January of 2012. By April of the same year, I wrote my first cover story for the publication on a pop rock band named A Rocket To The Moon. Highlight was a very small music magazine back then, but I was still grateful for the opportunity to put my work center stage for our few hundred followers to read.

_____________________________________________ It was just another boring night in Montgomery, Alabama.

I sat in my room scrolling through Tumblr, scanning the endless blogs related to my favorite bands and television shows. Then BAM! In the seemingly endless amount of unvarying posts, there sat an open call for writers. A young, aspiring music photographer was hoping to take her career to the next level by starting an online music magazine. For years, I had gone to concerts and longed to be a part of the music industry, but having no musical ability, I had no idea how to turn my dream into a reality. For days, I pondered over the idea of submitting an application.

I nearly collapsed on the floor in a fit of excitement. Before this moment, I had no clue what I wanted to do with my life. Teaching was an option with my English degree, but it wasn’t a career I was dying to pursue. Music had always been a constant in my life. After going to concert after concert, I knew I wanted to be involved in the music industry somehow. I had no clue that my decision to apply as a writer to Highlight would lead me on a path to discovery.

Once I regained my composure, I continued to read the email and let it sink in that I was one step closer to my newfound dream of becoming a music writer.

Do I have time to dedicate myself to writing for a publication?

Is my writing good enough to be published?

I pushed the doubt to the back of my mind, and in a late night delirium, I submitted my application. Weeks passed, and there was no word from the publication.

“I didn’t get the job,” I kept saying to myself. “I’m just not cut out to be a writer.”

I grieved the loss of my non-existent career as a music writer and moved on with my life.

Then, it came.

An email.

But not just any email.

A confirmation email.

The email I had been waiting to grace my inbox for over a month.

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A Rocket To The Moon began in 2006 in the basement of lead singer Nick Santino’s home in Braintree, Massachusetts.

After appearing on Total Request Live in 2008, the band caught the eye of several big name alternative record labels including Fueled By Ramen. Later that year, A Rocket to the

Moon officially joined the FBR roster. 2012 proved to be a big year for the band, so choosing them to be on the cover of Highlight was a no brainer. They were a well-known and loved band in the music scene, and their presence in our small publication was sure to bring lots of new viewers to our website.

At 12:01 a.m. on April 3rd, 2012, the issue went live.

With the click of a button, my words were now available for anyone with Internet access to see. Words, which had previously been exclusively mine, were sent out into the world to be shared and cherished by hundreds of other people. Would they treasure them like I did? Would they criticize them? It was like sending my child to kindergarten and watching them take on the world for the first time alone.

The support from the band and their label was astounding.

I never knew a simple Facebook post or tweet could affect me in such a positive way. This was the first time I saw acknowledgement of my writing from a band. As an inexperienced music writer, I was just happy to see that the band and their label enjoyed reading what I wrote and helped to promote it. A Rocket To The Moon was at a great place in their music career with a new album on the way and nothing but exciting things to look forward to.

But, all good things must come to an end.

Almost two years later, I found myself scurrying up I-65 to Birmingham on my way to see A Rocket To The Moon in concert one last time. Unfortunately, the two years that passed since I wrote their cover story had brought many changes, and this tour would be their last. _____________________________________________ “Nothing ever quite dies, it just comes back in a different form.”—Lester Bangs I arrive at the venue roughly four hours before the doors open, as is ritual for my concert-going friends and I. The hours that pass sitting outside on the hot July concrete are filled with memories of previously attended concerts and emotional stories about how A Rocket To The Moon’s music has been such a positive impact on so many young lives.

There’s a nervous energy among the waiting crowd. I meet fans that have never seen A Rocket to the Moon live, I meet fans that are following the tour, and I meet fans that are seeing the band for the twentieth time. There is no hierarchy of fans, though. No one tells the stories in an arrogant or snooty way. No one proclaims to love A Rocket To The Moon more than another person. The stories are told with enthusiasm and nostalgia as the last performance creeps upon us.

Soon, the procession of giddy fans relocates to the interior of the venue.

If you’ve never been to a concert filled with teenage girls, here’s how this process goes down:

There is no calm walk to the stage. It’s a full-on sprint. They haven’t waited outside for hours and hours to be cut off from a spot on the barricade by someone who just waltzed up into the line a few seconds before the doors opened.

How do I know? I’ve been that girl, and I was ruthless.

My friends and I would often create a “brick wall” in order to keep the stragglers from getting in front of us.

The formation of this “wall” consisted of us locking arms and firmly planting our feet on the ground. I would calmly whisper to my friends, who were of smaller stature than I, “Stay strong!” To which they would reply, “I’ll try.” Together, we were undefeatable. These latecomers would try to push their way through, but little did they know who they were up against.

“Excuse me,” they would say. “I’m just trying to get to my friends who are right up at the front.”

Oh, really? Wow, isn’t that convenient? Not buying it, honey. Find some other person to fool.

It may sound dumb or weird that we had this sort of method, but stand in the Alabama summer heat for four hours without shade, and then come talk to me.

After settling into our spots inside the venue, there is no going anywhere. We are trapped. If you so much as move an inch, the people around you move as well. Your personal space bubble has expanded to include four other people, one on each side of your body. Comfy, right?

After doors, we have one hour until the show starts. If we’re lucky, the show will start early, putting an end to the preshow anxiety that’s been rapidly building since we entered the venue. The giddy fans are clumped together near the front of the stage while the rest of the crowd lingers a few feet behind in a more spaced out formation. The air smells of overheated bodies, alcohol and a conglomeration of perfume from Bath & Body Works.

30 minutes until curtain.

Aimless chatter. Faint music plays over the loud speakers.

15 minutes.

Nervous anticipation. The crowd mindlessly sings along to the music.

5 minutes.

Fidgety movements. The music fades.

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0 minutes.

The lights go out. Deafening screams fill the room. Camera flashes cast shadows on the stage.

Curtain.

Four figures appear.

The screaming only gets louder.

And it begins.

There is an energy in the room that can only be described as a uniform feeling of elation. We all know it will be the last time we will see A Rocket To The Moon perform live so every second of the show requires our undivided attention and unrestrained participation. The performance belongs to us as much as it does to the band.

For 45 minutes, we are in a trance. Nothing outside of this moment exists. Fears, insecurities, day-to-day worries— they disappear. It’s just the music and us.

Forty-five minutes feel more like 45 seconds, and sooner than we know it, the show is over. The four figures on the stage take a bow and leave.

Reality begins to set in. That was it. As soon as we walk out

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of the doors of the venue, A Rocket To The Moon does not exist anymore.

When the music ceases and the crowd dwindles down, I walk to the lobby area in hopes of running into a member of the band. Luckily, they are there, waiting behind the merch table, each heavily clad in plaid, leather and sweat, to greet our sad eyes and smiling faces. I approach them with my own copy of their Highlight cover story and explain who I am and why I want the issue to be signed. I watch each member, light up with joy, thumbing through the pages with eagerness like a kid tearing through gift-wrapped presents on Christmas morning. The excitement follows with hugs and words of thanks and gratitude.

“I haven’t seen one in person yet,” drummer Andrew Cook says.

“I wrote the story on you guys,” I blush.

“You wrote it?” he replies. “Wow! That’s awesome! Thank you so much for the kind words.”

At this time, I am a puddle on the floor. Could this night get any better? A few seconds later, I find out the answer.

Andrew, whose beard has mesmerized me momentarily, motions for A Rocket To The Moon’s bassist Eric Halvorsen, a lanky and slightly awkward fellow, to come over to where we are standing.

Andrew shows Halvo, as he is affectionately called, the issue, and he beams with joy.

I watch as they both look through the pages filled with their pictures and my words. Time seems to slow down, and I try to fully take in the moment, but it is soon interrupted by other fans eager for Andrew and Halvo’s attention.

They sign my copy of the issue, and I leave the venue with a boost of confidence and a heavy heart. Rest In Peace, A Rocket To The Moon. _____________________________________________ It was in that moment that I realized what I wanted to do in my career: write words to encourage, promote and influence the work others are doing in their own profession.

In Dead Poet’s Society, Robin Williams’ character says, “No matter what anybody tells you, words and ideas can change the world.” In that moment of seeing the direct result of my writing, I understood the importance of this quote.

While my words may not have changed the whole world, they made a significant impact on four guys in a band, and to me, that meant more than the world.

Since writing A Rocket To The Moon’s story for Highlight, I have written 11 other cover stories, countless smaller features and tons of album reviews. With each piece I contribute, my love for music grows and my writing improves. I may never be able to fully explain what the opportunity to write for Highlight means to me. It has opened a door for

other writing jobs, including a spot as a music journalist for Substream Magazine, a nationally published music magazine.

When I decided to take on a job with Substream, I had to consider what that meant in regards to my writing for Highlight. I didn’t want to stop writing for Highlight, but I also didn’t want to give up an opportunity to write for a magazine sold in bookstores across the country.

But then I thought, “Why do I have to choose?” So, I didn’t choose. I took on both.

At first, it was difficult to juggle writing for two publications.

It still is difficult. There are times I want to throw in the towel and quit because of conflicting deadlines. Throw in classes and a job as the editor-in-chief of the school paper, and things can often get messy.

I don’t have much of a social life outside of school and my writing jobs, but at this point in my life, I don’t mind staying in on a Friday night to write an album review or article because I’m making small steps towards achieving my dreams.

“The only true currency in this bankrupt world is what you share with someone else while you’re uncool.”

—Lester Bangs WORDS: Jessica Klinner

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10 FUN FAC

EVERYBODY IS GO

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CTS ABOUT

OING TO HEAVEN

by guitarist nick hamm

1 2 3 4 5 6 7 8 9 10

Each guitar is tuned in 444hz, which is a frequency said to be most pleasing to the human ear.

A Paul McCartney performance exists on the record, slowed by 1000%.

“Weave Me (Into Yr Sin)” was the only song written in the studio and was originally intended to have Kiley from Petal singing on it.

The first song written for the album was the only song that didn’t get placed on the album.

When we were recording the album in Philly, we learned that the Pope was visiting. That eventually led to the album title.

Ryland played a saw with a bow on “Weave Me (Into Yr Sin)” and “Ten.” Jeff from Run For Cover stopped by one day, and although you probably can’t make it out, some of his vocals exist on “Ten.” A few tracks on the album feature a keg being used along with the snare. The bat that we used to hit the keg broke while Mat was hitting it and almost took Jake’s head off.

Our friend Dean was visiting, and he ended up renting a saxophone from a shop down the street in order to record the unplanned sax part on “Yellow Love.”

On the cover art, my friend Charlie was standing in front of a projection of the movie Ida, which is why the colors look desaturated.

PHOTO: Andy Swartz

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HOME: Sydney, Australia NOW JAMMING: “If You Wanna Stay” CURRENTLY: On tour with Urban Cone and playing festivals this summer The tour with Walk The Moon recently came to an end – what was the highlight of that tour?

The whole tour really was one giant highlight. The band and their entire crew are now family to us, and we couldn’t have asked for a better tour. The final show in Vegas was a pretty massive party and a huge standout. What happens in Vegas definitely stays in Vegas.

Writing Be Impressive was a bit of a challenge at first. How do you feel about the reception you’ve gotten over the past year knowing how hard you worked on it?

We’re so blown away. You never can tell how your songs will be received. We’re really humbled by the response to the album.

Do you think writing a follow-up will be easier when the time comes?

Well we’ve been writing album #2 since the day we finished recording album #1, and it’s been far from easy, but nothing worthwhile comes easy.

Have you written any songs over the past few tours?

It’s hard to write on the road sometimes, but yeah definitely, we sit on laptops in the van and come up with ideas all the time.

How do playing shows in America and Europe differ from back home in Australia?

I guess the major difference is that Australia is so spread out. We have 6 major cities, and they’re all really far apart whereas U.S. and Europe, you can be at another huge city every three hours.

You’re playing a bunch of festivals this summer – do you have one that you’re most excited for?

Really excited for Firefly. We played last year and had a huge turnout, and they looked after us really well! Can’t wait for this year.

Do you have to revamp your live show for festivals at all since you’re somewhat competing for an audience?

Yeah, we just play all the upbeat high energy tracks at festivals.

You’re finally doing your first headlining run in the U.S., aside from a longer set, what can we expect?

We’re just gonna play Walk the Moon covers.

With all of the extensive touring you’ve been doing, what is the best way for you to keep in touch with people back home?

FaceTime, Skype and Viber are all good ways, if only my mum knew how use them [laughs] You pride yourself in your party anthems – what artists would be on your party playlist?

Pretty much everything from the 80s— Prince, INXS, Michael Jackson, Def Leopard, Guns n’ Roses, Duran Duran, etc.

What would you say has been the most difficult part of your career for you all?

Leaving home and trying to start again in a new country is always hard work, and it takes a long time to feel comfortable when you’re far from home, but we all really feel at home in the U.S. now which makes everything a lot easier.

How did you, or do you continue to, overcome these struggles?

We’ve made a lot of friends here which helps as well as extensive touring has made us really comfortable here now.

What is the ‘highlight’ of your career so far?

I think seeing and sensing so many cities throughout the world is my personal band highlight. We’re so lucky.

What is the one dream the moment at which point either personally or personally and collectively, you would be able to say yes I’ve achieved this, I’m living my dreams?

I guess we already are living our dreams. We grew up all wanting to play music around the world, but I feel you should keep setting your bar higher and higher as you achieve your dreams, so that you’re never complacent and always challenging yourself.

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HOME: South Wales, United Kingdom NOW JAMMING: “Pencil Pusher” CURRENTLY: Touring through Europe

BUILDING VEGAN CAKES AND CAUSING RIOTS We’d all like to think that we would always be socially conscious and look out for the little guy if we suddenly came into power and money. Some do and some don’t, but Matthew Davies-Kreye falls in the former. His latest project with his band, Funeral For A Friend, gets right to the big issues that most people with success don’t write or sing about. The depth and thought put into Chapters & Verse, the band’s 7th studio album, is astounding and brutally honest.

When asked about why other artists don’t raise issues in their work, he felt that most people don’t want to support causes without full knowledge of the subject. He also went on to say that so many people like simple fluff instead of the more serious material that Funeral For A Friend makes. It’s all about the creator’s personal comfort level and goals for success. On a more personal note, he added, “I always felt that music is equal parts entertainment, yes, but it is also [for me] an important tool for acknowledging issues and for addressing my own personally grievances with the wider social spectrum.”

Davies-Kreye grew up facing these issues. His hometown of South Wales is one of the poorest parts of Europe. Growing up, he desperately wanted to leave his home country.

Oddly enough, he hasn’t moved. In fact, he has mastered the art of putting the conflicting emotions of loving/hating his hometown to good use.

“I still very much plant my feet here, because those differences that I see every day inspire me and they anger me at the same time. I think that duality really is something that feeds my desire to bark on a microphone and put pen to paper and pick up a guitar, or whatever it is,” he said.

Also, like most kids, he grew up listening to music that shook things up and absorbed a lot of hardcore metal that focused on issues that are still big today throughout the world. It’s safe to say this music had a huge influence on him and the band when writing songs like “1%.”

Some point between then and now, Funeral For A Friend achieved the big 15-year milestone along with being hailed on multiple occasions as “the saviors of rock music,” which Davies-Kreye thought was a bit too much.

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“Ridiculous. I don’t feel like a savior of anything and I think to consider our band a savior of anything is a bit extreme,” he said. “I just find it laughable.”

However, with the hardcore music scene in Europe hitting a major lull, the band still remains successful and is willing to take risks with their work. But they also remain incredibly humble about it.

“We just do what we do. We make music that we love. We always have done, we always will do, and if people dig it then that’s cool. If they don’t, then hey, it doesn’t matter,” Davies-Kreye commented.

At the end of the day, to Davies-Kreye, the band is just a bunch of guys from South Wales, who successfully put some chords together. That humility also comes with the aforementioned keen ability to utilize freedom of speech and expression. Their most recent album, Chapters & Verse, is a huge testament to that, being made on an incredibly short timeline. Davies-Kreye described the process as taking three weeks to write all the music and less than two to record the whole thing. He added that the new record is their most hardcore of them all. Davies-Kreye called the record, “the one that pulls no punches and is unforgiving.” His personal favorite from the album is “Donny,” but he enjoys playing “1%” live the most.

“I’m talking about I literally get to throw myself around the stage like an absolute lunatic, because it’s just a song that really pulls me apart. Musically, it just gets me, and I just lose myself in that song,” he said.

The difference between recording and performing is such a crucial thing that most artists have difficulty balancing it all. Davies-Kreye’s personal solution is simply to not

separate the two by having the same focus on the work at hand. Personally, he likes to think he’s playing live when recording, because the spontaneity keeps him from getting caught in minor problems.

With that in mind, touring takes up most of the band’s time.

Though they enjoy playing live to fans every night, they take advantage of the months on the road by exploring the cities they’re performing in. Davies-Kreye described it as going on little missions to meet new people and feed his inspiration.

“I love playing to the people, and I do, but it’s like part of the parcel, it’s the icing on the cake so to speak, but getting out there and actually building the cake to the point is kind of cool… as long [as] it’s vegan,” Davies-Kreye said.

Fifteen years is a long time to do anything, and naturally, they’ve faced their own struggles. They’ve changed out band members and dealt with a rise to success among other things.

“It’s not the end of the world. It is if you choose it to be,” Davies-Kreye expressed.

His best tools for putting everything into perspective are his wife and some strange utility he referred to as a cat (never heard of them). He puts a lot of passion and effort into the band’s success because it is part of his life. The biggest success from making this part of his life would be finally getting his parents on board with his plans.

“My parents were like yeah, yeah, you know always worrying and then suddenly when you give them an actual CD that somebody else has actually paid to produce (not your own thing, somebody’s actually sunk money into this to release it) because they believe in what you do. That was a turning point,” he remembered.

Because, at the end of the day, Funeral For A Friend were just a bunch of normal guys from South Wales, trying to convince their parents they’d make it to the big leagues, and now they have something to write home about.

PHOTOS: Demi Cambridge | INTERVIEW & STORY: Bailey Zeigler

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HOME: San Francisco, California NOW JAMMING: “Playing Catch with .22” CURRENTLY: Preparing for their debut headlining US tour late in June with Hail The Sun and Too Close To Touch

FROM PLAYING WARPED TOUR

in 2014 to supporting Coheed and Cambria and Say Anything on tour months later, I The Mighty have been living out their dreams, according to singer Brent Walsh.

It’s no secret the group brings in elements of Coheed and Cambria into their music— they’re the band’s biggest fans.

Yet, with their most recent record, Connector via Equal Vision Records, Walsh said their direction was guided more by exploration.

“We’re the biggest Coheed and Cambria fans. There isn’t any other band on the planet that I’d rather tour with. That [was] a peak for me,” Walsh said. “[But with] this [record], I wanted to play with extra instrumentation instead of just guitars. There’s more synth elements on this record. We had fun with auxiliary percussion, creating beats on the computer [and] not really having to limit ourselves. We’re not the type of band where the backing tracks are a huge part of the sound, so we [wanted] to have a little more fun with it.”

Putting out their single “Playing Catch With .22” earlier this year, the band have been nothing but grateful and excited for their fans to hear what they’ve been experimenting with, while hopefully gaining some new fans in the process. The single, a melodic synth and math-centered song, holds a story near and dear to Walsh’s heart. Representing a modern-day tale of star-crossed lovers, the song is a perfect blend of heavy guitar breaks and dynamic lyrics.

“It’s like playing catch with a .22 when you’ve known someone a really long time. Maybe you’re very close friends with someone, and you slowly start to develop feelings for [them],” Walsh explained. “You’ve got to decide whether you’re going to tell that person you have feelings for [them] and risk losing your friendship or risk dating them and having them become the love of your life. There really is no right answer. You might learn something, you might not.”

For a band that is constantly on tour, the group is ready to head back out from their three week hiatus since finishing up the recording of Connector. Since then, the group is finally getting ready to man the stage on their own headlining tour, which Walsh says is four years overdue for fans who have come out to see I The Mighty play 25 to 30 minute sets.

“I think it’s time that the people who come out to see us actually get to see a full set,” Walsh said. “[This year] is going pretty well. It’s a little compacted, but we’re making it work.”

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While the band have had to “dig and scratch” to get their supporting spots on some tours, they’re more than ready to have Connector out for fans to listen to and connect with.

More than anything, Walsh wants people to know that I The Mighty aren’t doing the ol’ wash-and-dry; they’re evolving.

Their debut album, Satori, was released in 2013, and Walsh said the two records are very different but hold the same structure as far as where the band came from.

“I think Satori did really well for us, it did what it was supposed to do— it cultivated our core fan base,” Walsh explained. “We’re still hoping that this record will bring us to a much more viable place in our careers, a place where we can actually afford to only play music.”

Being able to use social media as a tool has been useful as well as a little unnerving, according to Walsh. Yet, the reception of Connector has been positive. Even with the slight apprehension of “getting over this threshold of being a slightly bigger band, getting over that hump,” Walsh said the band is ready to be “in a much better place” once the headlining tour starts.

“We were a little worried with ‘Playing Catch With .22’ because it’s a little heavier on the pop side than what we normally do and the last few songs we’ve released,” Walsh said. “For Satori, we released the two heaviest songs [first], but we thought [for this record], ‘Do we release the heavy songs to start? Should we do something different?’

It is a different record. It’s different than anything we’ve ever done. We wanted to start off on a different foot and show people, ‘Hey, we’re doing something different. We’re growing, we’re developing.’”

It’s no doubt the group are anxious to have Connector released. They’re even planning on hitting the U.K. sometime in the near future (Walsh described it as “another little footprint for us”), but the “slow build” of their shows is something they’re pumped to see change with their upcoming tour. Yet, more than anything, Walsh wants Connector to be something the band can use as a jumping off point into what they’re becoming— lifelong musicians.

“I’m just really excited for people to hear the record,” Walsh said. “I’m excited to hear what songs people connect with as opposed to our prior material. We’re all really stoked on the artwork, the lyrics and the message. If you’re reading this: tell your friends, spread the word.”

PHOTOS: Ashley Osborn | INTERVIEW & STORY: Bridjet Mendyuk

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HOME: Liverpool, England NOW JAMMING: Glitterbug CURRENTLY: Playing a string of summer festivals including Reading, Leeds & Lollapalooza

WHEN “LET’S DANCE TO JOY

“It’s magical and there’s a lot of stuff going on,” Murphy said. “It’s kind of about city life and people driving toward whatever it is they want achieve and why they want to do it and how they get there and what it means. It’s not a concept album, but there are running concepts throughout it and that’s kind of what excited me.”

It’s been roughly four years since the band from Liverpool released their sophomore album, This Modern Glitch. The road to album number three was not an easy one. The band—vocalist/guitarist Matthew Murphy, drummer Dan Haggis and Tord Øverland Knudsen— took their time to make Glitterbug.

Most of the time was spent waiting to get into the studio with their busy producer Mark Crew (Bastille, Taylor Swift) and working out the kinks while writing and recording.

For Murphy, creating something that you can fully relate to is what makes the best music— the best songs are the ones you have to get off your chest or write about to fully

Division” broke onto the scene in 2007, all was well in The Wombats’ world. And though many things have changed since that time, the band’s passion for their music has remained the same.

“

I THINK WE’VE FOUND THE RIGHT KIND OF WORLD TO LIVE IN. THIS IS WHERE WE SHOULD BE.

“Getting this album finished was kind of difficult,” Murphy said. “We recorded it in a very small studio in Battersea. I was back and forth from LA. There were a lot of differing opinions and to reconcile all those opinions and get them into one cohesive mass or body of work was at times quite difficult, but we’re all good friends and mature so we just got it done.”

But the long wait and slow process of creating the album was not in vain. Glitterbug brings The Wombats out of their sophomore slump and back into the limelight with more a more mature sound and a breath of fresh air.

Growing up in Liverpool, Murphy said the local music scene always seemed to be like something his band needed to be part of one day.

“The music scene in Liverpool is very vibrant and it’s a musical city,” Murphy said. “We never really felt like a part of it. We were always kind of outsiders looking in at Liverpool’s music scene. The scene was awesome because everyone wants to help each other and everyone is very supportive.”

Coming from such a supportive scene in the U.K., it was probably a bit of a culture shock when The Wombats traveled across the pond to try their luck at becoming a big name in the United States. Murphy, who has spent a lot of time in Los Angeles, learned quickly that the American music scene is more competitive and cutthroat than what the Liverpool lads were used to back home. Comparing it to the opposite of an armadillo, Murphy said the album title is supposed to represent something that is soft on the outside and dark on the inside, much like Los Angeles.

”

understand it yourself, he explained. There was always something in a song that spoke to him and that he could relate to on a personal level.

Murphy said The Wombats’ previous albums have all sounded different, but something sparked within the band while creating Glitterbug.

“We were kind of thinning it out sonically,” Murphy explained. “I think kind of taking the best sounds and just having them sound loud. We just wanted to try and get a space in the actual sonic of recordings.”

While the band will be touring for the remainder of the year in support of the album, Murphy believes the band is finally at a point in their career where they feel the strongest. While their previous albums, A Guide To Love, Loss And Desperation and This Modern Glitch, were both major accomplishments and stepping stones for the band, Glitterbug has put the band right where they need to be at this point in their career.

“I think we’ve found the right kind of world to live in,” Murphy said. “This is where we should be.”

PHOTOS: Cara Bahniuk | INTERVIEW & STORY: Geoff Burns & Jessica Klinner

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HOME: Red Bank, New Jersey NOW JAMMING: “F**ked Up” CURRENTLY: On tour with The Kooks and Joywave

It is very surreal when someone can achieve a lifelong dream. It’s as if everything moves in slow motion, and that moment is suddenly marked down in history as one to remember.

On a beautiful day last June, Young Rising Sons, a rock band from New Jersey, was able to experience one of those moments when they signed to Interscope Records. Now, two EPs and several tours later, this four piece just released the first single to their upcoming full-length record.

The band came together roughly six years ago when New Jersey natives and band mates, Steve Patrick, Julian Dimagiba and Dylan Jackson Scott met Andy Tongren at an open mic night in New York City. The band have been playing together ever since. Tongren, who is originally from Ohio, has been able to immerse himself in the musical culture of New Jersey, and ultimately, the move has proved to be a very good one.

Though they have been playing together for a long time, Young Rising Sons are just now building momentum and more attention. Sometimes it seemed easier to give up than to persevere, but years later, their diligence to Young Rising Sons has paid off.

“The music industry is an animal – it’s tough sometimes,” Tongren said. “You get kicked and knocked down a lot but we were resilient and I’m glad we were. We wouldn’t be here otherwise.”

Each member has been playing music in some capacity since childhood, but none of them expected to be full-time musicians from the get go. Actually, each member played sports growing up, and between hockey, baseball and football, all four members ultimately decided to pursue music.

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E AS A S A B N FA R U O T A K WE LOO

GROWING CULTURE AND A GROWING FAMILY

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“Somewhere along the line we just got caught up in this world of music and got sucked into it. I don’t think there is any way we could be doing anything else with our lives,” Tongren shared.

Young Rising Sons have many musical influences, and their style has been taking a hold of pop culture recently. Their song “High” has been featured on countless commercials, TV shows, and has heard praises from many music and pop culture tastemakers such as BBC Radio 1 and Buzznet.

“High” opens with whistling, acoustic guitar and bare vocals, but then revs up with a very percussive and catchy chorus. The song pulls together with perfectly meshed fullband musicianship and computer effects that beg for heavy radio play. It has taken on a life of it’s own after being written in all of fifteen minutes, and even Young Rising Sons did not realize the full impact the hit song would have on their careers.

“We knew we kind of had something special,” Tongren said. “When something comes that quickly and that easily it means it’s good because you’re not questioning it or second guessing it.”

By any definition, Young Rising Sons are a rock band, but they have the best luck writing more pop-oriented songs.

Although it is not necessarily a conscious decision, each member writes songs for other artists— mostly pop artists— so that is just where their musical pens end up. Even though they could try to write music that is completely left of center, if it isn’t broken, why fix it?

“It is just kind of in our blood at this point,” he said. “Pop music has generalized what’s in todays top-40 but pop music in the ’80s was not what it is today; it’s evolved and it’s constantly changing. When we say ‘pop music,’ we just mean something that’s we foresee becoming popularized, not necessarily a Jason Derulo song or something like that.”

Like any growing band, Young Rising Sons have been touring relentlessly. Most recently, they finished the first leg of a tour with The Kooks and Joywave and will be heading out on more dates at the end of the month, along with a full run with The 1975 this past fall.

After each and every show while touring with The 1975, Young Rising Sons went and met fans, took pictures and sold signed CDs. They have never had paid meet-andgreets, and they make meeting fans at every show a priority.

Tongren said that he never got to meet the bands when he went to shows growing up, and now even with the growing connectivity of artist-to-fan through social media, they want to take the opportunity to tell their audience exactly how much their support means to them.

“We look at our fan base as a growing culture and a growing family,” he said. “We try and bring that aspect to

our fans, and it’s a really cool experience when you get to meet a band after a show for these kids.”

On top of touring, the band was also able to make an appearance at South By South West in Austin, Texas, where they played an official showcase at Maggie Mae’s Rooftop.

Even with their current buzz, this was not the first time they attended the festival. Years ago, the band packed into one of their mothers’ mini vans and caravanned all the way from the east coast to play two showcases. SXSW has been known to be the catalyst for lucrative musical careers (acts like Haim, John Mayer, Ellie Goulding and more), but at the end of the day, the festival is just full of good music and people who want to have fun, Tongren recalled.

“It was a completely different experience [this year].

Definitely a little more legitimate this time around,” Tongren said. “It’s crazy. South By is nuts and it keeps growing more and more every year. It was kind of cool to see both perspectives of South By when you’re maybe not so crazy busy, and a South By where you’re constantly running around all the time.”

Although Young Rising Sons are set to be out on the road once again for the duration of the summer, their debut fulllength record is in its post-production stages. Last month, they released the very first single, “F**ked Up,” after it received such a positive reaction when they played it on tour. Like their previous tracks, this one has driving rhythm and honest vocals but a bit of a darker theme, following the story of a relationship that started and continued through a bit of partying. Still, Young Rising Sons have nailed the soaring and catchy chorus. Tongren shared they are very excited to release new music, which is scheduled to drop in August. Their self-titled EP has a very uplifting and positive vibe to it, and intentionally so because they wrote it while on the ‘high’ of signing to Interscope. But this time around, the record will be a little darker and a bit more complex.

“It’s going to give people a lot more insight on us as a band and us as people,” Tongren explained. “We wrote the EP when we were at a high point in our lives when everything was exciting and new but we kind of wanted to capture more of the human emotion and human perspective spectrum. Everything isn’t always sunshine and smile[s] so were we’re trying to capture that.”

Until then, Young Rising Sons will be taking North America by storm for the rest of the month with The Kooks and Joywave, and then for the second half of the summer, they are out on the road with Hunter Hunted and CRUISR. “We’re always out on tour,” Tongren said. “It’s great to get out and meet fans and make new fans so that’s why we do this. We do it to play music for people who actually give a shit.”

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TOUR ROUND UP

PHOTO: Charlie Martel

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PHOTO: Savana Ogburn

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PHOTO: Charlie Martel

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PHOTO: Sam Polonsky

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album

reviews ARTIST

Ryn Weaver ALBUM

The Fool RATING

SOUNDS LIKE Halsey MisterWives Betty Who RECOMMENDED TRACKS “OctaHate” “The Fool” “Pierre” “Traveling Song”

TRACKS 1

Runaway

2

OctaHate

3

Pierre

4

Stay Low

5

Sail On

6

The Fool

7

Promises

8

Free

9

Traveling Song

10

Here Is Home

11

New Constellations

RELEASE DATE June 16th, 2015

WEBSITE facebook.com/RynWeaver

After taking the Internet by storm with her single, “Octahate,” less than a year ago, so much has been said about Ryn Weaver’s “overnight” success. Fortunately, Weaver’s debut album, The Fool, is not fooling anyone with its lustrous electropop gold and is proof that she is truly a synth goddess.

The Fool is mesmerizing, vibrant and insanely catchy, but also compelling for reasons beyond its sonic appeal.

The album opens with “Runaway,” a melting pot of Weaver’s distinct creative use of synths and momentous drum beats. “Runaway” is much more subtle in its steady build, but the vocal calls in the background play perfectly on the fullness of her voice. The album then moves to “OctaHate,” the pinnacle of Weaver’s penchant for beautiful production and massive vocals. “Pierre” is playful, optimistic and deceivingly emotional. The track is about interactions with past lovers and telling them how amazing you’ve been even if things have been rough. Not only to help with the pain of seeing them, but also in hopes that one day those lies will be true. Her deeply introspective intuition is what propels “Pierre” into musical greatness.

Other highlights on the album include “The Fool” and “Promises.” Both, again, showcase Weaver’s clever indie pop instinct and feature booming, anthemic choruses with just enough guitar bits and electronic nuances to keep the songs varying.

The album ends on a much more contemplative and stripped down note, where Weaver showcases a less produced side and her ability to do more than just her signature upbeat pop. “Traveling Song” ends hauntingly beautiful with Weaver singing A capella. There is a tender rawness in the moment that is so innocent and pure.

Overall, The Fool is quite a whimsical adventure. The album is full of sweeping, dreamy soundscapes. All the songs continuously vary in structure; eventually reaching a brilliant crescendo at the very end that pulls away into a softer moment of bliss. The Fool is a strong, fresh album that simply shimmers and has the ability to not only give goose bumps, but to also have you dancing within seconds.

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REVIEW: Theresa Pham

ARTIST Braids ALBUM Deep

In The Iris Though Deep In The Iris leans more toward the electronic realm, Braids fantastically intermingles basic instrumentation with energetic, but oddly soothing, sounds. The album as a whole is relaxing, complete with a dose of lyrical depth.

The beats are the most important part of this album. They build and rescind in just the right places to create the perfect amount of intensity. However, it never gets too crazy because the entire feel of the album itself has an overwhelmingly peaceful energy to it. The beats play a large part in this, as they tend to carry over from song to song so that the album feels cohesive. This album could be considered a bit redundant; ultimately, it comes down to your level patience for that kind of thing.

The ambiance is both the selling point and the downfall of Deep In The Iris. Despite making it a pleasurable experience for listeners, it’s easy to miss some powerful lyrics because the beats and synthesizers have a very hypnotic effect.

Ultimately, the experience that comes with listening to this album is well worth the longer spans of some of the songs. If you’re up to shut out the world for a couple hours, this is your ideal soundtrack.

RECOMMENDED TRACKS “Miniskirt” & “Warm Like Summer” REVIEW Bailey Zeigler ARTIST COIN ALBUM COIN When you think of Nashville, the first thing that might come to mind is country music. That’s not the case with the sound coming from the Nashville natives in COIN. They are taking on the music scene with their debut album full of indie pop-rock hits partnered with synth-filled tunes and electric energy that will get you moving.

This self-titled album starts out with “Atlas,” which sets the mood for all 10 songs. Its catchy beats are full of energy that will send positive vibes to you and the people in the car next to you. Chase Lawrence’s vocals show his incredible range of octaves and fluid expression in his lyrics. After hearing this album, you will think of this band as Vampire Weekend and Local Natives’ younger brothers, who are growing into their own sound. The quartet, with the help of Grammy-nominated producer Jay Joyce, have created an album that will be the soundtrack of your summer

RECOMMENDED TRACKS “Atlas” & “Run” REVIEW Colleen Casey

ARTIST Dawes ALBUM

All Your Favorite Bands “I could go on talking / Or I could stop,” murmurs Taylor Goldsmith, lead singer of Dawes, in the opening lyrics of the band’s latest album, All Your Favorite Bands. Those words, so softly sung, are the perfect lens through which to view the album. Honesty is a challenge they take on and continue to face throughout the entire album.

Staying true to this theme, their album is raw and unadulterated. Flowing from quiet, almost soothing moments to course, earnest harmonies—All Your Favorite Bands creates a very sincere sound that helps the truth go down smoother. It’s an album that just exists because it needed to be said. As the first track communicates, “Things happen / That’s all they ever do.” It’s a simple phrase that rests in subtleties of every day life. However, it’s not a melancholy album. All Your Favorite Bands has an underlying current of hope from the rhythmic experimentation on “To Be Completely Honest” to the well wishes of a loved one in the title track.

As the band’s fourth album, it was time for an innovative approach to their sound. All Your Favorite Bands is still as uniquely Dawes as ever with their California rock, Eagles-meet-Jackson-Browne sound. Yet Dawes has evolved with the times, and they have created the perfect mix of thoughtful rock with a hint of pop. In the words of Dawes, “May all your favorite bands stay together.”

RECOMMENDED TRACKS “Don’t Send Me Away” & “To Be Completely Honest” REVIEW Haley Buske HIGHLIGHTMAGAZINE.NET - 59

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