No Heroes Issue 6

ISSUE SIX – JUNE 2010

AS I LAY DYING – CONVERGE – BARONESS – BLEEDING THROUGH HOUSE VS HURRICANE – REALITY – THE SMITHS ENDLESS HEIGHTS

Bleeding Through ... p.6 As I Lay Dying ... p.10 Converge ... p.16 Baroness ... p.24 House Vs Hurricane ... p.30

Editor’s Letter ... p.4 Quickfire: Endless Heights ... p.5 Bands You’ve Never Heard Of ... p.34 New Music ... p.35 Obituary: The Smiths ... p.38

EDITORS LETTER

If I’m going to be completely honest wth myself, this issue has been a complete and utter struggle from start to finish and I am SO GLAD it’s done!

Just nothing went right. Or rather, nothing went the way that it was supposed to.

During the first six or seven minutes of the Baroness interview, I thought John Dyer Baizley was going to hang up on me because he didn’t like my questions. Turned out he’s a super nice guy and just had to warm himself up.

interview because the majority of the audio is completely inaudible.

I have no idea what even happened there.

Adobe Illustrator on my Mac hates me, and as the weeks went on bugs started to crop up in InDesign as well so I’ve had to restart this issue twice and even now can’t properly export the files that I need to.

On the upside, the interviews are some of the most interesting. the photography is some of the best we’ve ever featured, I’m psyched on every single band between the pages and I get to welcome three amazingly talented people to the team.

This was supposed to be a Bleeding Through cover, but we didn’t get the complete band for the tour so instead we get portraits of some members and not of others. First up is Chad Sexington – clearly a pseudonym, but all you We had problems with lighting at need to know is the dude is a the As I Lay Dying cover shoot. ruler!

It was either not do it or have Then there’s Lindsey Cuthberta 50/50 shot of getting someson, who is writing for us. He thing. Fortunately, that was one actually started out last issue but instance where everything turned I forgot to mention him then. out great.

And finally is Ben Clement, who’s The audio for the Converge inwork you will be seeing a lot of in terview was completely screwed. forthcoming issues.

What you get isn’t a complete

On the whole, even though things may not have worked out the way they were supposed to, I am happy with this issue: from the Quickfire with Sydney’s Endless Heights to the Obituary on The Smiths.

You also get a frank conversation with Marta and Brandan from Bleeding Through, I interviewed Jordan Mancino from As I Lay Dying while he’s at Disneyland, Chris from House Vs Hurricane talks about their debut album and John Dyer Baizely talks us through the philosophies of Baroness.

The most important thing is the feature on Converge. I had the amazing good fortune of interviewing the INCREDIBLE Kurt Ballou. That’s another of my favourite bands I get to cross of the “Wish To Interview List”.

Anyway, check the issue out and any comments or suggestions, hit us up on the email on the contents page.

Until next time...Sarah x

INTERVIEW with DRUMMER, JULIAN DIAZ

by SARAH PETCHELL LIVE PHOTOS: LACHLAN HICKS How did you get into hardcore in the first place? What attracted you to it?

“In my early teens I was really into my metal and I think the first hardcore band I got into and from there one of my friends leant me Blacklisted’s The Beat Goes On and as that one minute something of the opener, ‘Tourist’, was done I knew I was listening to something refreshing.

“I don’t really know how to describe it. I guess I felt it had the same aggression as metal but without the cliché and with more soul. After that I started checking out more bands and going to shows.

“As for the scene’s attractiveness, the community aspect definitely roped me in as it was really different to what I had experienced in my old band. The reactions we received when Your Ghost Is A Gift (what we used to be called) started doing things was different too. We got a huge hand from people like Dan Misztal from Strike Hard Bookings, who put us on shows, and bands such as Armed With Courage and Mary Jane Kelly giving us kind words.”

What sort of aims and goals did you have when you started out?

How have they changed from then to now?

“To become rock stars! Nah, we didn’t expect anything when the band was starting out as none of us really knew what we were doing. I think opening up for The Broderick and Antagonist was good enough. When I think back to then, our goals were to be as melodic and as heavy as we could be in the same equation. There was a lot of The Ghost Inside, Misery Signals, The Acacia Strain and For The Fallen Dreams worship going on.

“I think we’ve all really matured in our approach to music and we’re exploring new avenues in our sound. We’ve all become somewhat jaded with our old material as we have started to get on our

ENDLESS HEIGHTS own feet, musically. We dropped all the bullshit.”

What would you say is the most memorable thing to have happened to you while being in the band?

“That would undoubtedly be opening for Have Heart at St. Ives. The show was completely sold out and the amount of kids singing back our lyrics was overwhelming. I felt like I was in Killswitch Engage! Apart from that, probably the drunk middle aged punk telling One Vital Word to play Heresy covers at the Town and Country in St. Peters who proceeded to take one of the mics and just began to yell. I guess you had to be there…”

What gets you the most psyched about playing in your band?

“I think hanging out at the shows is the best part, getting to catch up with the dudes in the band and also catching up with people you don’t usually see unless at shows. The crowd participation always helps as well.”

What’s it like playing as a part of the Sydney Hardcore scene?

What are it’s positives and negatives?

“It’s great and I’ve made a lot of new friends because of it. I guess the older bands are some-

what skeptical of new bands that come through, especially if your members hadn’t been seen to do anything contributing to hardcore, but sticking through it, they softened up and am now great friends with a lot of these guys.

On the flipside though the positives are huge: all the bands look out for each other, with bands putting other bands on their bills.”

What local bands are you psyched on at the moment?

“All of them, although bands you should listen to are Legions, Fixtures, Empires, Pledge This, Elegy, Fistmouth, Reality and Never Content. The new Phantoms CP is going to be ridiculous, as is Hand of Mercy’s, Relentless’ and Shinto’s.”

Will you guys be releasing anything new in the upcoming months? Written any new tracks?

“We’re currently trying to sort out all the miscellaneous stuff such as artwork for our forthcoming EP, Prologue that was recorded with Sam Saljooghi of Ghost Town in January. This should be out in the next couple of months.”

Endless Heights’ EP, Prologue Prologue,, is available now at endlessheights.bandcamp.com

BLEEDING THROUGH

No Heroes: So how’s the tour going so far?

Marta: “It’s terrible. It’s not fun at all.”

Brandan: “It’s pretty much the worst tour...Just kidding! The tour’s been good, it’s been great!

It’s our fifth time in Australia and it’s definitely one of our favourite places to play because it’s one of those places that reminds us of home: the same weatherwise, the same temperament of people.

And anytime that you get to play a tour to a whole bunch of new kids, that’s great! Anytime that you can get more exposure on top of the fans that you already have is great. A lot of bands don’t get to do that.”

NH: This definitely isn’t the sort of tour that I would see you guys normally play, so I guess that’s good as well.

B: “We definitely have a lot of cross over with these kids, but Machine Head have sold a tonne of records here so there’s going to be a lot of people that we haven’t reached.”

M: “And we’ve always been the band that’s been willing to take chances with touring with any band. So it might seem uncommon or an unlikely band, but we’ve also toured with a lot of even less likely bands.”

NH: What’s it like being on tour

with those sorts of epic heavyweights like Slayer or Marilyn Manson?

M: “It’s actually pretty casual. Essentially, we’re all doing the same thing and we all have the same goals. It’s not as if they’re doing something, or have done something that we’re not trying to do ourselves.”

B: “It’s a lot of like-minds on tour, even with bands like Slayer or Marilyn Manson. That’s the thing, a lot of people can be total rock stars if their band has had success. But, the thing is, they’re just trying to do the same thing as every other band in the world but the pieces have aligned a little better for them in doing that.

“This tour is great though. We’re a band that respects the bands that we tour with, but we’re not impressed by them. Just because you have fame and fortune doesn’t impress us. I don’t really care. But this tour, we’ve had the great fortune to tour with Machine Head and Hatebreed who have had a lot of success, but the thing that sets them apart is that they’re impressive people. They are down-to-earth the whole time and they understand that all of us are just trying to do the same thing. There’s a really good kinship with all these bands as well.”

NH: How important is the live show and playing live to Bleeding

Through?

B: “I think a lot of bands on records, especially these days, don’t need to perform on their records. A prime example is that I’m involved in a side-project at the moment where it’s me and one other person and we do everything ourselves with the drums being programmed. It’s easy. A lot of bands can get a really decent recording and not even have to play. The sign that they can actually do it is when you see them live. If they’re really good players live and they put on a really good show then that’s great.”

NH: What’s the actual experience of being on-stage like for you guys?

M: “I think it’s different for everyone. I think some people experience calm and some people experience anxiety. I think, though, there’s definitely (assuming things are falling into place and there isn’t issues onstage) something motivating by seeing the crowd respond. It’s the reason you do what you do. I think that’s hopefully common amongst musicians, otherwise why would you do it?”

NH: How much of this whole experience of being in a band is a cathartic experience for you guys?

M: “That’s probably individual.

For me I love, love playing live. I love performing. I feel that it is

my release. It’s everything that I want to be doing at that point.

And when things are good, that’s everything that I could ever want.”

B: “And it’s the same for me. For me it was a way for me to get out certain emotions that I had.

When we were starting Bleeding Through, my anxiety was just crazy at one stage and I used to look at the crowd differently to what I do now. I can honestly say that I would look at the crowd and just hate everybody. I would feel like I just wanted everyone to stop looking at me, because I was sort of thrown into the singer role, that wasn’t exactly what I wanted to be.”

NH: I guess I have to talk about the new, self-titled album a bit. So now that it’s done and all in the can ready to be released how do you feel about it?

M: “Stoked! Totally stoked! We just want it out and we just want to be out playing those songs already because we’re not playing any of them this tour for a number of reasons, like the smaller set, that we’re not playing with our usual drummer and that we’re playing as a five-piece right now. We’re just excited.”

it. There are so many things that you have to exclude from your life and so many people and things you have to sacrifice. Dreams and aspirations get put on hold to do this and it’s sort of about that.

“But there’s a little bit of bitterness in this record too, and a lot of that is aimed at the show-goer who has no fucking idea what we do go through. They see rock stars that get to travel the world and, yeah, that’s the plus bit. But the shitty thing is that I get to see my wife half the year and my friends maybe two months out of the year.”

NH: I don’t know if you still even consider yourselves a hardcore band anymore, but the thing is that a lot of hardcore bands don’t really have that long a life-expectancy. How then have you kept this up for 10 plus years now?

B: “Yes, Bleeding Through came up through the hardcore scene and we’ve always considered ourselves a part of that community, and still do.

it was the fastest moving trend.

And I’m talking about the whole deathcore thing. It literally turned from hearing about a band like Job For A Cowboy, then all of a sudden every single show we played, all the local bands sounded exactly like that. But it was weird because it was just odd!

It just swept through and now you’re hearing it’s death rattles.

“My new term for bands is ‘deathcore denial’ – it’s all the bands that got big through deathcore but they still have a career at this.

But now it’s a taboo thing where they’re calling themselves death metal and have all grown their hair and are writing death metal records.”

NH: What do you think is your biggest achievement to date?

M: “The lawn bowling tournament that we won today!”

B: “Yeah we beat Emmure at lawn bowls today. You know what, I think the biggest achievement is the longevity because we fought for so many years. You’re always “The thing is that, when we first going to run into adversity and started out it was mostly hardcore naysayers, but to stay headstrong kids and then all of a sudden through that is something that a there’s that heartbreak I told you lot of bands don’t get to do. about. It’s like you’re a band for NH: Where are you drawing influthree or four years, you start sell- “There’s a lot of frustration in ences from musically and lyrically ing records and headlining shows. this business and there’s a lot of this time around?

You start going on tours and ups-and-downs, but that makes it B: “What I did on this record was bumping up the venues. And a lot the biggest achievement: the fact that I listened to a lot of Bleeding of those kids don’t like bands like that we just keep pushing through Through stuff. I listened to a lot that anymore. As soon as a band it.” of our past records and picked has some sniff of success, they’re up the stuff that was definitive gone because they want to be NH: Is there anything left for you to what Bleeding Through is and elite. That’s got nothing to do to cross off the Bleeding Through things that we did consistently with hardcore, it’s with metal and to-do list? through every record to make punk rock and everything.

M: “There’s probably a few places sure that it was a part of this that we probably still have left to record. It’s not that we’re trying “We know that kids are always go- play. But as far as big, big goals to be unoriginal and do the same ing to be into a band for like three are concerned, I don’t think that record, but I just wanted to take years, so you’re always trying to we are actively pursuing those. those things and kick them up a grab onto new people. But that We’re not saying that we want to notch to improve them.” makes the kids that have been write a Platinum-selling album.” there since day one to now that NH: If it’s not too personal a ques- much more special too. Challeng- B: “But if it would happen it would ing yourself is the way to kind of tion, what kind of message are be cool. It probably – actually, do it.” you trying to get across with the not probably. I’m going to put lyrics on this record? down 110 per cent and say that it B: “This time it’s a little bit about NH: What’s the worst trend you’ve would never happen.” the journey of doing this for as seen so far in your 10 years doing long as we have. It’s a little bit this?

INTERVIEW: SARAH PETCHELL about the heartbreak and the B: “I’m going to say this. It’s not sacrifice that it kind of takes to the worst trend, but I’ve seen a LIVE PHOTOS: LACHLAN HICKS do this and make a career out of lot of trends come and go and PORTRAITS: CRAIG NYE

AS I LAY DYING

ONE THING I NEVER EXPECTED WHEN I TOOK THE CALL FOR THIS INTERVIEW WITH JORDAN MANCINO, THE DRUMMER FOR METALCORE OUTFIT AS I LAY DYING, WAS THAT I WOULD BE DISCUSSING THE BAND’S NEW ALBUM, THE POWERLESS RISE,, WITH HIM WHILE HE RISE WAS SITTING IN THE COURTYARD OF DISNEYLAND WAITING TO JOIN THE TICKET QUEUE. YES, YOU READ CORRECTLY – DISNEYLAND! A FAR CRY FROM THE STUDIO THEY WERE HOLED UP IN WITH ADAM D WHILE RECORDING THE ALBUM, THIS WAS PERHAPS THE PERFECT SETTING TO DISCUSS THE ALBUM DUE TO THE COMPLETELY CONTRADICTORY NATURE OF BOTH. ON THE ONE HAND, THERE’S THE HAPPIEST PLACE ON EARTH.

THEN THERE’S THE POWERLESS RISE – AN 11-TRACK METAL MASTERPIECE THAT SEES AS I LAY DYING AT THE HEAVIEST, FASTEST AND MOST TECHNICAL THEY’VE EVER BEEN.

go now?

“Yeah, it’s almost done. We’ve been in mix for the last two and a half weeks and we’ve got about another two weeks left. But everything is all recorded and it’s sounding great! We’re really, really happy with it!”

THE NEXT TIME I SPOKE TO JORDAN WAS WHEN THE BAND WAS IN AUSTRALIA BACK IN MARCH. THE GUYS WERE LATE TO THE SHOOT FOR THIS COVER BECAUSE THEY HAD JUST RECEIVED THE FINAL MIX OF THE ALBUM AND HAD TO LISTEN TO IT TO REGISTER ANY LAST MINUTE CHANGES.

How are you feeling about it at the moment? Excited? Nervous?

“Very, very excited actually! I think it’s our best record by about a thousand. All the performances are really good, the songs are just that much better than the last record, so yeah, I’m really excited about it.

AND NOW THAT THE ALBUM IS HERE, IT’S EVERYTHING THAT JORDAN PROMISED IN THE INTERVIEW THAT FOLLOWS… So I guess you’ve finished the new album and that’s all ready to

“You know, it’s hard to really describe it before people have actually heard it. I think the record is actually heavier, the songs are better and there are a lot more hooks. There are just a lot more things to related to within lyrics for one thing.”

Did you do anything different this time around in the writing or recording process? Or even musically?

“It’s kind of bizarre being able to fall asleep in my own bed every night, especially when it doesn’t happen very often...We kind of recreate a home life for ourselves in the very short amount of time that we actually have at home...”

“Well, the writing process we went about in the same way as we did the last one: we get song skeletons from everybody and pick our favourites and then kind of try and construct songs from them before jamming them out in a room. We then give them to our producer and he would give us his notes and change things and that would be it.

“But the thing we did do completely different is that we did two different recording sessions this time around. We started the first one in late October and recording eight songs until about the beginning of December when we got back on the road again. We then recorded another five songs in January and February.

“So we broke up the record into

different recording sessions and that was kind of cool because it gave us time to really focus on a smaller number of songs and get those done. It really gave us a chance, ahead of time, to get all the details in that we always run out of time to do.

“So that was really cool: there wasn’t really anything we wanted to put on this record that didn’t make it on there.”

I think it’s always interesting to know what was going on in your lives while you were writing the album, so what was happening?

“We were actually at home and I guess that’s monumental due to the fact that we hadn’t been home for more than a month or two since probably 2002. This is the first time we’ve been at home

for more than a couple of months, but we’ve been home since June of last year, actually.

“It’s kind of bizarre being able to fall asleep in my own bed every night, especially when it doesn’t happen very often, so I think that’s cool. We get to spend time with our families, which is really important, and kind of create a home life for ourselves in the very short amount of time that we have.

“It’s pretty different and cool because all we’re focused on is writing and writing only. We had a couple of one off shows here and there in December, but other than that we’ve just been focusing on writing and practicing.”

Is it a weird transition to do that?

To go from being on the road for so long and then coming home for a relatively long amount of time to what you’re used to?

“Yes, it’s super weird! I’m still kind of getting used to it but I haven’t gotten used to it enough where I feel like I need to bail and I’ve got to get back out again and tour. I guess you would call it cabin fever, but it’s just being ready to get back on the road and start playing shows again.

“It’s been really good. I think a lot of us have been missing our families and only being able to see them for a couple of weeks at a time. So being home and spending time with them as much as we have been, has been a really cool thing for us.”

Where did the name for the album actually come from?

“It’s one of the lyrics to the song called ‘Upside Down Kingdom’ which is later on the record. But the general idea of The Powerless Rise, the meaning of it, is tall the oppressed people or forgotten people of society and how it’s their time now to rise up. I think that’s what the general idea is.

“Obviously there is more to it than that, but Tim would be the better one to answer those questions because he wrote most of the lyrics. Well, all the lyrics actually…”

What are you hoping that people will get out of the album?

“I think, lyrically, there’s a lot of thought-provoking and emotionally provoking topics that we hope people take to hear and that people that the time to think about and take action on. We hope that people just enjoy the songs because they are just that much better than the last record.

We really put our hearts and souls into this record, as we’ve done with every record.”

What exactly is it like working with Adam Dutkiewicz as a producer? I know it’s your second time working with him, but I’ve heard very mixed reports of what he’s like.

“D’s great! He’s an amazing producer. He’s a well-rounded musician – great guitar player, great drummer and a great singer

– so he’s able to be involved with every part of the recording process. This time around, especially, he was able to spend a lot more time with Tim on his lyrics, vocals and vocal lines, and it really shows through in the songs.

When people hear it they’re going to hear the progression from the last album to this album. Everybody played so well that it was just incredible.

“You know Adam D (for people who have seen him live or seen videos of him) he’s a goofy dude – a hilarious dude. He’s got these little things about him that he does in the recording studio to make it easier to bear. He’ll put little, funny sound bytes into the songs you’ve already recorded.

The main thing is that he’s a really good friend, first and foremost, then a great engineer and producer.”

You guys ran a competition to guess the album title through your Twitter page. It kind of raises the question as to how important is the internet to As I Lay Dying’s success as a band, both past and present?

“It’s very important, I think, because of the style of music that we play. It’s been underground for a long time and the fans are underground, so the internet was the perfect way for us to get our music to the people who wanted to hear it.

“I think now the type of metal that we’re in, it’s a little bit more mainstream than it used to be, but I still think the main communication method we have with our fans is the internet and so we obviously try to make the most of that and try to interact with them as much as possible. Like using Twitter and having fun with them with a competition.”

How excited are you guys to be coming back to Australia?

“Very, very! Australia is what we consider to be our second home.

I think a lot of it has to do with the people there and just our fans there: we feel welcomed.

Also, because we’re from Southern California, I think Australia is probably the closest place to the

vibe Southern California has. We always feel at home there and coming back, it always feel like we never left, minus the wife and the accent of course. We love it there. Honestly, if there is any other place in the world I’d want to be living, it would be there.

“We’re really glad to be going back there and playing smaller venues is kind of cool for us. You know, the last time we were over there we were playing Soundwave, which is that big festival setting, so I’m really excited to play smaller venues and have a real personal reaction and interaction from the crowd.”

That’s actually something I’m really curious about, because you’re playing venues that are considerably smaller than what you could probably play and still draw a decent crowd. Why is that exactly?

“One of the reasons is obviously because we just played a festival tour over there so we thought it would be important to go over there and have a more personal and closer interaction with our fans and it’s obvious that this would be the best way to do it.

“Also, because the album isn’t going to be released yet, we didn’t want to make it think like grand production that we’re trying to pull off. We wanted to wait until the record was out and go over there and kind of do something a little bit more substantial, a bigger production.”

Is this going to be the first tour since you guys took that break?

“Yes, it will be. And we’re excited to get back on the road for sure!”

You guys are playing Easterfest and I know that’s a Christian rock festival. Obviously, you guys don’t like being pigeon-holed as a Christian band but I’m wondering how important is it for you guys to hold true to those values with your music?

“No, it’s very important for us to stick to those values and to stay true to those values, like you said.

You know, we’ve never actually played Easterfest before so we’re not sure what it’s like, but we do

“We’re not partial to one crowd or the other. We just want to play to our fans and to those people who want to hear the music...The title or venue of the show isn’t as important as finding those people...” a lot of Christian festivals over in the States because I think that’s a market that gets lost.

“We know a lot of Christian bands that tour in consecutive tours like we do and a lot of people forget about those fans – those kids who don’t get a chance to go to those regular shows. So we’re not partial to one crowd or the other.

We just want to play to our fans and to those people who want to hear the music. That is what’s important, not whether it’s a Christian festival or an Easter festival or whatever. The title or venue of the show isn’t as important as finding those people.”

What’s it like for you getting onstage. Does anything go through your head or does it become sort of a whitewash really?

“Actually, I do a lot of thinking and

a lot of concentrating, trying to get my body in a place where it’s ready to perform. I mean, I warm up for a minimum of an hour, usually around like two hours, before I play by doing different types of cardio and stretching and stuff.

I’m just getting myself ready to put on the best show possible.

basically I love our band. You know, since I started it’s always been a passion of mine and heavy music has always been a passion of mine. What we do as a band is very important to me because of the lives we’ve been able to change and the topics we’re able to discuss lyrically.

“As a drummer, there’s a lot of concentrating involved as I’m trying to interact with the crowd, but I’m also trying to make sure that I perform well, keep it quite tight and give the crowd the best show that I can. That’s what we’ve always tried to do, whether it’s a small club or a big show.”

“I think we try to write and play what is very genuine music to us and I think that people see that.

It’s how people are able to related to us in a genuine way.

What does it mean to you to be in a band like As I Lay Dying, and I guess what does your music mean to you as well?

“It’s hard to put into words, but

“I mean, we’re not trying to be like a cookie-cutter, pop band.

We’re trying to be a band that plays what they love, whether people like it or not, and I think they can appreciate that. We’re not trying to impress anybody, so we just do what we do and connect with our fans on a different

“I mean, we’re not trying to be like a cookie-cutter, pop band. We’re trying to be a band that plays what they love, whether people like it or not, and I think they can appreciate that...” level than most bands.”

So when you formed As I Lay Dying with Tim back in 2000, did you ever think that this would be how far you guys would actually come?

“I had no idea! When Tim and I started the band we were just excited to be on the road and to play some shows, maybe put out a record or two. We didn’t realise we would eventually be able to do all of that full time and that we would be able to make a living out of it.

“It’s something that we’ve been very fortunate and very blessed to be able to do, but it’s something that we never expected. That is why we always strive to write the best that we can and to play the best that we can. Because that is our motivation, it’s help us grow

and be part of a genuineness as fans see in our music and in us.”

Looking back now from when you started, is there any advice that you would give to a band that’s just starting out?

“Well I would say be ready to put in a lot of work and a lot of time.

And just be able to focus in on what you’re doing and the songs that you’re writing. If you just try to make the right decisions and don’t expect things to happen overnight, then you’ll be ok!

“Play the music because you love it, not because you want to get girls or whatever – it usually doesn’t last long for people with those motivations. You’ve got to do it because you love it! It’s a lot of work, a lot of hard work, but it’s also very, very fulfilling.”

I’ve got one last question for you and then I’ll let you get to Disneyland. If you weren’t in As I Lay Dying, where do you think you would have ended up?

“Oh gosh, I don’t even know!

Actually, I’m going to college right now, getting my history degree and eventually my masters. I would actually like to be a college professor eventually.

“Maybe I would be closer to that if I weren’t in the band but at this point my music is my main priority and it’s my passion, so I’m going to keep doing this for as along as I can and for as long as it makes sense for me to.”

INTERVIEW: SARAH PETCHELL LIVE PHOTOS: BEN CLEMENT

CONVERGE

INTERVIEW: SARAH PETCHELL – LIVE PHOTOS: NIC BEZZINA

“We’re all about live expression – it is more important to us than having a product...”

IT’S PRETTY OBVIOUS FROM THE NAME OF THIS MAGAZINE THAT CONVERGE ARE ONE OF THOSE BANDS THAT HAVE MOST DEFINITELY HAD THE MOST IMPACT ON MY LIFE. JUST THAT PHRASE – NO HEROES – HAS SO MANY CONNOTATIONS WHETHER YOU’RE TALKING ABOUT HARDCORE OR RUNNING A MAGAZINE OR EVEN JUST EVERYDAY LIFE. IT IS ALSO ONE OF THE GREATEST ALBUMS THAT I HAVE EVER HEARD FROM ONE OF THE GREATEST BANDS THAT I HAVE EVER HEARD. I DON’T REMEMBER THE FIRST TIME I EVER HEARD OF CONVERGE. I REMEMBER THAT I WAS WORKING IN A

RECORD STORE AT THE TIME AND THE ALBUM NO HEROES HAD JUST COME OUT (YES, I GOT INTO THE BAND LATE). I’M PRETTY SURE I ASKED ONE OF THE GUYS THAT I WAS WORKING WITH ABOUT IT AND HE TOLD ME TO LISTEN TO YOU FAIL ME JUST BECAUSE ‘EAGLES BECOME VULTURES’ IS ON IT. I think I listened to it, thought it was pretty cool and then just left it alone. Six months later I picked it up again and had my mind completely and utterly blown!

To this day You Fail Me is my favourite album. It’s not their best, but it’s my favourite. And their show at Manning Bar when they were here in 2006? Yep, that’s right up there with one of my favourite live shows.

The reason why I’m telling you all this is to set the scene for just how nervous I was to do this interview with Kurt Ballou about the band’s most recent album, Axe To Fall, which undoubtedly was my Album Of The Year in 2009.

It’s a magnificent piece of brutal goodness and it was intimidating and nerve-wracking to speak to someone who’s talent as a musician and song-writer is something that I respect so much!

Even now as I write this, I’m listening through their albums and getting distracted by certain parts of songs – like the guitar riff of ‘Dark Horse’ or the impassioned scream of “I need you to be the strength of widows and soul survivors/I need you to be as fearless as new mothers and new fathers” during the first lines of ‘Last Light’.

The other remarkable thing about this band is their longevity. Established in 1990 (incidentally when Jacob Bannon was just 14 years old) the level of popularity – and I’m not saying this as a negative thing – the band has achieved in the time since is remarkable given the fact that the music is hardly accessible and the media attention, minimal, while label changes and line-up changes over the years have helped rather than hindered.

However what Converge have done is completely established themselves and their music as a style and an ethic all of it’s own.

One that many frequently attempt to replicate. Even though evidence of this brilliance existed early in their careers, it was Jane Doe that cemented this place.

And with a DIY ethic and absolute

control over everything they do (thanks to their relationship with current label, Epitaph, and the fact that Kurt Ballou runs Godcity Studios as well as self-produces the band’s albums), this is not a band that is going to fold to outside pressures anytime soon.

point and a recording standpoint.

The band have seminal albums like Jane Doe and No Heroes to thank for this. Both showcase the talents of a band that are completely at peace with who they are and nowhere is this more evident than on Axe To Fall. Kurt and I take this as the starting point for the interview that follows.

Was there anything different you found in the writing and recording process for Axe To Fall from what you had done before?

“Well, we try to take a different approach to every album we write, whether it’s in how we start songs or what key the songs are in.

Okay, I have to ask you, how excited are you about releasing your new beast of a record onto the world?

“Very. We’re all really excited about this record, and about all these songs from a writing stand-

“You know with each song, they’re affected by everything around you. Like as we get older things do slow down and we do try different things, particularly with frequency, so it gives us time to take a break and move on with

“We’re also really excited about playing live shows again. We’re all about live expression – it is more important to us than having a product, so were definitely excited to play these songs.”

“When you’re young you just want to get records out but as you get older you start...to grow and gather new influences on each record, while still making this version of Converge.”

other things.

“You know when you’re young you just want to get records out but as you get older you start focusing on things like evolution. So that’s important to us to grow and gather new influences on each record, while still making this version of Converge.”

You said that you guys do take quite a break between records, but I have to ask where in the scheme of things does Converge fit into your life?

“It’s a pretty important part of all of our lives. I can’t really imagine where my life would be without it at this point.”

Just to go back to the album for a second, one of the things that I think really makes Axe To Fall standout is just how defined the guitar lines actually are. It’s just really forward in the mix and they’re really catchy as well, and these are both things I don’t really associate with your previous albums.

“Well I think that my ability as a guitarist are a little greater now, than on previous records.

“But also, from a personal perspective, the last record was my first time completely producing and mixing a Converge record so I was probably a little bit preoccupied with making everyone else sound better because the outcome of the record was what meant the other guys were going to get paid.

“As producer, I got paid irrespective of whatever happened with the album. The result of this is that I probably focused a little too much on what made the other guys happy rather than what was better from a production perspective or what was going on with my guitars.

“This time around, because it was the second time that I was producing, there wasn’t that pressure to make everyone else as happy. The individual parts in the songs were less important than the songs as a whole, so it was more about the songs being presented in the best way possible.

“I wasn’t afraid to let the guitars come out on this record.”

And this is the thing with Kurt and his work as a producer and engineer within his own Godcity Studios. The fact of the matter is that he is a very well sough after producer of hardcore and metal material.

If you look at his resume, he’s worked with the bands that you see plastered over the tshirts and hoodies of the majority of kids at any hardcore show – bands like, The Hope Conspiracy, Killing The Dream, Rise & Fall and Blacklisted. Following Converge’s Australian tour here earlier this year, he holed himself up in Melbourne with Samsara to produce their forthcoming sophomore release, after having already produced their first.

Just talking about you and production for a second, because you are a sought after producer, so does the work you do with other bands give you new insight and inspiration into the way that you produce your own band?

“Yeah absolutely. In the first place it’s really good practice and I think it’s really good to get other people’s perspective on how they not only assemble songs, but assemble sounds and work as an ensemble.

“For the most part, once in a while it just gives me ideas to cherry-pick from, which will then inspire me to create music. I think it has more to do with the practice of learning the composition of songs and also the composition of sounds within a recording.

And this helps me give, personally, the tools in order to be the best guitarist and member of an ensemble that I can.”

You guys have been around for almost 20 years, so does there get to be a point where creatively you’ve drawn on all the inspiration that you can and you’re at a point where you’re purely creating? Or do you still feel like you’re pulling references from music you hear or work on?

“Yeah, I know what you mean. I think that at a certain point, like

when a band is young and starting out you can pick out their influences pretty well. Then the more that they evolve and progress, the more that they start sounding like themselves and less like the things that have influenced them.

“I think also, when a group of like four guys get together and start a band, you know, they’re talk about their shared influences or the particular direction that they would like to take with their band.

But, at least in the case of the line-up that we have now [Jacob Bannon, Kurt Ballou, Nate Newton and Ben Koller], the four of us have been playing together for 10 years.

“At this point, our shared experience as a part of Converge has more to do with our musical lineage rather than any kind of shared influence. I mean, we do certainly appreciate a lot of the same music.

“The other thing we do, in terms of our influences, is that we like to draw influence from places sort of outside our genre. We then reinterpret those things and see if they can fit into a place that is more like Converge. Like a lot of progressive rock references and things like that. Like you have to pull that into a song and think that it sounds like Genesis or Yes, or something like that.

“We’re kind of taking a certain approach and a certain mentality from that approach and then finding a way to funnel it through the Converge aesthetic.

“I think the skills of the people that are actually involved with the band have a lot to do with how we cherry-pick where we take influence from and how we do actually write our songs.”

I know that the DIY discussion has been discussed to death with you guys, but one thing I’m really curious about is how is it that Converge has managed to refrain from being forced into things by labels for so long? And how much of this has to do with the fact that Jacob does have Deathwish and

you do have Godcity?

“I think that in relation to Deathwish and Godcity, these things do sort of allow us to maintain a sense of autonomy. But the DIY thing for us has never been any sort of elitist thing where we were doing it for status or we desired to be DIY. “The kind of music that we play, the risk and the reach that it has means that there is just no profitability there. So no one with any money or any business sense really had any desire to get involved with what we were doing. Then we were forced to do everything ourselves.

ally read what’s written about you guys in the music press? Do you pay attention to reviews or anything?

“I don’t seek it out, but the people at our record label, when the press does come out they will forward the press clippings to us. So we do get a chance to read what people are saying about us. But personally, no I don’t seek it out.

“It’s nice and yeah I enjoy a certain amount of affirmation from other people about what I’m doing, but it’s certainly not why I do it.

“Like I said earlier, I’m just happy that enough people like our mu-

“And even the things that we didn’t do ourselves, even to this day, we kind of farm out to people that are friends of ours from years ago, who has maybe toured with us before, or whatever. Like our booking agent in the States is a roadie of ours and our booking agent in Europe is a guy that was on our first tour in over there.

Even the people at Epitaph, they’re all punk rock people.

“We just feel more comfortable working with those sorts of people. I mean, we have a lawyer and our manager has a lawyer (even though he does play in bands and stuff). It’s important to us as people that we just maintain a

sic and like what we’re doing so that we’ve continued to be able to write records. But knowing that someone likes what we’re doing, and most importantly gets what we’re doing, is nice to hear.”

You and Jacob are the only original members of the band. So how have you managed to keep that relationship going for so long, especially because you would have been in your teens when you started out?

“I think it’s just a long-standing friendship more than anything.

You know, we have known one another since we were teenagers and we grew up knowing a lot of the same people and having a lot

sense of control over our music and a sense of ownership over it.

The more that we can keep the creative and the business elements of the band internalised, the more ownership we feel over the music.

“It really isn’t a business decision. It’s just something that we’re driven to do and it would be something that we would be doing regardless of whether or not people like us or not. We’re just feel fortunate that enough people like us that we can continue to make records.”

Just with the new album coming out and everything, do you actu-

of the same experiences together.

We also have a lot of the same musical roots.

“But the main thing is that because of all this, we’re understanding of one another’s quirks and strengths and weaknesses.

“Plus we have a great respect for one another’s abilities and we don’t really get in each other’s way. So because it’s been such a positive working relationship, we just suck it up.”

Did you ever think that Converge would ever get to this point and this level of notoriety that you’re at now?

“No I totally didn’t. I really did not think that we would still be together at this point in our lives.

But I also had no idea that this sort of really underground type of music that we play would have such a prominent role in modern counter-culture.”

Just on that note of notoriety, there was actually a fake rumour that went around that you guys would be touring here at the beginning of 2009. What’s your take on when that sort of thing happens?

“I did hear about that. But that rumour kind of bummed us out because it makes us look bad, you know. People don’t think that that could be a hoax, and no one really thinks about the consequences of that hoax or how it

affects the band.

“We then feel like we’ve let people down because we’re not doing this tour that we know people would have wanted to have seen.

“So I’m really disappointed that that happened, but we’ll be there sooner rather than later.”

My last question then is if Converge were to end tomorrow, what’s the one legacy that you would want to leave behind?

“I guess I would just hope that the people out there got something positive out of our music and that they enjoyed what we did so that we would be remembered.”

“It’s important to us that we maintain a sense of control and a sense of ownership over our music. The more that we can keep the creative and the business elements of the band internalised, the more ownership we feel over the music.”

BARONESS TALKING TO JOHN DYER BAIZLEY WAS PROBABLY ONE OF THE MOST INTERESTING CHATS WITH A MUSICIAN I’VE EVER HAD. HIS PHILOSOPHIES ON WHAT MUSIC IS, WHAT THE ROLE OF THE MUSICIAN AND ON THE CREATION OF BAND IDENTITY WERE ALL NEW IDEAS THAT HAD ME STEWING OVER THE IMPLICATIONS FOR WEEKS. ADD TO THIS THE FACT THAT BARONESS RELEASED ONE OF THE BEST METAL ALBUMS OF LAST YEAR WITH BLUE RECORD AND THIS MAKES FOR ONE INTERESTING READ. THE ONLY OTHER THING I’LL SAY IS DON’T LET HOW PASSIONATE JOHN IS ABOUT HIS MUSIC (AND HIS ART) PASS

YOU BY. THIS IS A GUY THAT TRULY LOVES EVERYTHING HE DOES – HE’S ALMOST IN AWE OF WHAT HE’S ACCOMPLISHED – AND I FIND THAT TRULY INSPIRATIONAL!

INTERVIEW: SARAH PETCHELL LIVE PHOTOS: NIC BEZZINA

lease show last weekend. I’ve got a solo art exhibition opening up in four or five days. And I also have a little three month old daughter.”

With the CD release show, how was the response to the new material?

“That’s pretty much all we played.

First up I have to say congratulaBut we were doing it in our hometions on the new record because town so we had home ground it’s mindblowing! So you must advantage. It was an incredible be pretty over the moon at the night but it seems that all of moment with all the positive reour fans here, that are all of our sponses that you’re getting for it... friends who have been coming “Yeah, you would think. Unfortuto see us play shows for seven or nately I’ve been so busy recently eight years now, there was such that I haven’t had time to enjoy a positive and overwhelming vibe any of this stuff. I know that it’s that it’s made us real excited going on but it comes at such a about heading out.” hectic time for me that I don’t really get to sit back and enjoy When being overwhelmed by famit yet, but I’m sure in six or eight ily and work and everything else, months I’ll be more relaxed and do you still pay attention to the happy about the whole thing.” facts and figures side of releasing an album?

If you don’t mind me asking, what “I would be lying if I said I wasn’t have you got going on that’s keep- aware of it, because all the label ing you so busy? tell us these things, but I should “We’re going out for our first tour be really clear that this isn’t how in two weeks. We just did a CD re-

the guys in the band, this isn’t how we define ourselves. They’re not accurate descriptions of success. They’re accurate descriptions of a reviewer’s opinion, but for us it’s more about connections at shows.”

So is that how you guys would measure success? By that connection?

“Yeah, that amongst a whole other host of things. But really I think that commercial success and artistic success are just opposites. They’re most definitely not the same thing.

“And success in this band is always having something else to do. It’s always having a full plate of work in front of us. It’s about always being challenged and interested in what we’re doing. And by that definition we’re feeling really good right now.”

Writing a follow up to an album that was as critically acclaimed as your debut, The Red Album, Album, did you feel any pressure to deliver something as good because of this?

“Just let me be really, really clear about how I word this. There was a lot of pressure with this record, but it was all from the guys in the band.

“That type of external pressure just doesn’t matter to us and I think that anybody that listens too closely to that is going to write core music. We know that it’s going on. You can only hope that you’re fans hope you’ve written a better record than your last. If they don’t hope that then they’re not your fans. That’s a core assumption for me.

album, in Blue Record, Record, that is better than your previous one?

“Yeah, I do. I’ve made a record that I feel more strongly about.

I think we wrote a record that I think when we were writing it, when we were rehearsing it, when we were recording it and now that we’re playing it, the music means more to us.

“Because it’s more personal: it speaks of something that is more intimate and exposed of us than we’ve been able to do in the past.”

“But what it really boils down to is that we wanted to improve things.

We wanted to understand that we are an intrinsicly flawed band. I’m not the most brilliant singer on the planet. There’s always stuff to improve. And since we understand that there’s always work for us. There’s always something that’s going to be on the next record that we couldn’t quite get onto this record.”

Talking about this album being more intimate and exposed, do you feel that it’s then a better reflection of what Baroness is?

“Yes, because in Baroness we define ourselves and the band and the music as a direct reflection of the members making it.

Not to say that all bands should define themselves that way, but that’s just how we have chosen to define ourselves.

Do you feel like you’ve written an

“As musicians we feel that there

is a level of communication going on and our goal is to communicate that which is inside of us and however that happens. So when we were doing this record, the question when writing and recording was is this the best that we can express ourselves. Is it the most accurate portrayal of this narrative that we find ourselves in? Is there a better way to do it and, if so, what is that?

“Because we were able to ask questions like that and not judge the answers outright we were able to do things which, musically speaking, some bands I think might shy away from.

“For us there’s no concepts or ideas that are not worth investigating or looking into because even through our failures we actually learn more about ourselves and how we are able to express ourselves.”

Personally, what’s your favourite thing about the album that you’ve created?

“No decision I’ve ever made has ever been a purely financial one. If I wanted to talk smart, commercial decisions, I wouldn’t have been a musician or an artist. It’s too hard, the hours are too long and the pay isn’t good at all...”

“That’s a good question! It’s like you’re asking me to compliment my own record and that’s too hard for me.

have arrived at long before you’ve got there.”

It’s that whole post-modern idea that nothing is original anymore.

“I think what really surprised me “Yeah, and it’s not original. But I the most about this recording is think the originality is in the perhow much I can hear each memsona. It’s why a thousand people ber performing and how they’re could cover the same song and performing. I think Summer, our it would be a thousand different bass player, has really estabsongs. What we’ve done is that lished himself on this record. Like we’ve chosen to take that kind of I can here him and no other bass idea that it doesn’t matter what player playing this record. And the we’re playing, it’s entirely how same goes for Allen and the same we’re playing it. goes for Pete.

“So, by extension, we felt freed “That was part of the goal: that in a way to kind of cut off the it sounded like that and that it chaff from the proverbial wheat didn’t sound like somebody else. with this record and leave off That’s difficult to do in music things that were unnecessary, or because essentially you’re just redundant, or pretentious. It was building upon ideas, concepts just something that we wanted and sounds that other people to do to express who we are as

people.”

You had a change in guitarists between Red Album and Blue Record.. What has Pete brought Record to the recording sessions for the album that previous guitarists maybe hadn’t?

“When I talk about our old guitar players, it’s difficult for me to say they brought this or they were lacking that because I grew up with everybody that has ever played in this band. So when Brian was with us on the Red Album he was our drummer’s brother so there was this palpable fraternal bond and it played itself out like that.

“When Pete joined the band, I was able to reconnect with someone who I grew up playing music with. In fact, he was the first per-

band has become travelers in the sense that touring is what we do.

son I grew up playing music with and the person that I discovered and feel in love with classic rock and heavy metal and The Melvins and Jesus Lizard – everything that formed me. He was somebody who we have always talked about playing together but have never been able to geographically or from a time perspective meet up.

tion to ask you, but I guess what attracted you to music and art?

What made you decide to pursue these as your career?

“Honestly, I was never aware of an attraction. It’s been the only that I’ve consistently done throughout my life. I have no memory of starting and I have no notion of stopping.

“He joined the band and it’s like the type of unspoken connection that’s incredibly rare with me. I couldn’t have been happier.

“I mean, if you’ve been to one show, you’ve been to them all. It’s just a different uniform, different shoes and socks. It’s really what’s happening outside the club when we’re on tour that we’re really in“I’ve just been incredibly fortunate that I’ve been able to do this terested in. Being that none of us fulltime and that is making music have ever been to Australia we’re and making art. I’m self-employed quite excited about the prospect.” and everything I do in completely Obviously, unless they’ve seen based on a creative impetus. you play overseas, no one here has seen you play. What can “No decision I’ve ever made has we expect from a Baroness live ever been a purely financial one.

If I wanted to talk smart, commer- show? cial decisions, I just wouldn’t have “You would have to ask somebody else’s opinion. You know, been a musician or an artist. It’s the thing about our band is that too hard, the hours are too long we’ve always been a live band. and the pay isn’t good at all.

Ever since day one.

“This is just what I have to do.

“It just seems even crazy to me There are probably a number of sometimes that we’ve even redirections I could have gone and corded anything, because when a number of paths that I have yet to go but this is what I do and we started off we were just playthere’s nothing else for me to do.” ing shows. We played 300 shows before we released anything and You’re coming to Australia for the we toured Europe three times first time for Soundwave, so what with just an EP in our hands. are you expecting from these “So, that’s what we do! I don’t shows? think that what we do is intrin“I have no idea! I honestly have sicly any different to what anyone no idea. This festival thing that else does. It’s guitars, a bass and we do do from time to time are drums. What we’re all out to do is always a complete surprise and there’s no way to anticipate what- to play every show as powerfully as every other show. ever it is that you’re going to get yourself into.

“With us, it’s all about a crowd interaction. When we’re in front “But I will say that I’m very much looking forward to coming to Aus- of an audience that understands tralia. We’ve been aware of a Aus- or respects or feeling the same thing that we’re feeling, it drives tralian fanbase, however small our performance and drives our it may have been, since about show. I hope that there’s some2003 or 2004. So it’s always been sort of a dream destination thing like that waiting for us, for touring for us. I just assumed I otherwise we’re going to have would never make it there unless to work for it and not back down from a challenge like that.”

I was on vacation.

“So a lot of the songwriting this time came more fluidly because there was this like “call-andresponse” kind of thing going on with the writing that our last record hasn’t.”

Does your surrounding environment have much of an influence on the music that you guys produce?

“Yeah, it does because if you’ve ever been to Savannah you will know and notice instantly that you in a distinctly and uniquely Southern landscape, and that has physical, social and historical implications that you cannot escape, you cannot hide from and you cannot glaze over.

“This band is, for lack of a better term and I really hesitate to say this, a Southern band, but that has nothing to do with the Skynardy, Nascar, Mellow Yellow, Walmart, stereotypical Southern thing.

“It’s more like there’s a sensibility and a pace and a respect for our environment that comes through in our music because it’s who we are. And it’s totally amazing.

I think our music has a lot to do with that.

“Even as we grew up in Virginia, it’s still two completely different and unique sides of a very Southern experience. So we grew up with all that history – whether Civil War or whatever – all around us. And it pertains to literature, and a music tradition, it’s all there in one shape or another.”

I’ve got a kind of personal ques-

“It sounds a little cheesy to say it, but it’s almost like I didn’t choose it. If I had done anything else I would have been denying it. And it is a passion of mine.

“But that’s just me. I consider myself, again, at this point to be a very fortunate person and our

“But as we tour, we always soak in the experience of a new place and try to have as many new experiences as possible. So while we’re there we won’t be partying all night. We’ll be more likely to be looking like idiot tourists during the day. I mean, hopefully.

HOUSE VS HURRICANE Ok, so for people who have been living under a rock for the past few years, tell us a little bit about HVH’s sound and what sort of bands have influenced you?

“Well I guess we are a pretty modern blend of heavy music with keyboards. In terms of influences, we draw our influences from a whole bunch of places. We’re all into different types of music, but the collective ones would be bands like Circa Survive and Misery Signals, and we all really love Minus The Bear. Then there’s obviously a lot more straight up stuff, like a lot of old hardcore records like No Warning.”

What are the differences between recording an EP and an album. Is it much harder to take the album route?

“Originally we didn’t think so, but we quickly learned that this wasn’t the case when we got there. We were kind of approach-

ing it like we’re just recording an EP with double the amount of songs, and it won’t be a problem.

We really learned a lot about making records and being a band while we were in Baltimore.

“It’s a difficult conversation because recording this time around was pretty full on. Especially in a comfort zone we had never been in before: Baltimore was a very interesting city. Anyone who has been there before would understand what I mean by that.

There’s a drug dealing culture and a lot of poverty, but we met some really cool people and hopefully the record shows that we made it out alive.”

It must have been pretty hard being so far away from family and going through that intense a process.

“Most of us had never been overseas before, and to go over-

seas for six weeks to record every single day, it was an excellent experience for me. I think we learned a lot as band members and as people as well. We definitely had some pretty intense times, but it was worth it and I think the record is better for it.”

What do you think was the most important thing that you learned about yourself and your band was while you were over there?

“I suppose about communication between the group. That’s something that really improved just from being around Brian McTernan [producer]. It’s only because Brian has worked with so many different bands and has made so many records and has been doing it for so long.

“He really stressed the value and importance of things like brainstorming – we had never really held much value to that kind of

stuff but he showed us a way in which our songwriting processes would be more productive. But I think the main thing was that we learned to communicate between each other without somebody getting ticked off when their idea was being discussed or criticised.”

basically came from me emailing him and asking him if he wanted to do our record.”

That just goes to show how powerful the internet actually is.

I mean, just the fact that you can get in contact with someone like that is pretty powerful.

“Yeah, that’s the thing about the It’s pretty massive that you got to internet: anybody is just one click work with Brian McTernan. How away. We had this conversation did that come about and how did with Brian and he was talking you choose him? about when he used to play in “Basically, we decided we wanted a hardcore band called Battery, to do the record and we wanted to and back when he was younger, get the best production we could it was all letters. Everybody was get, without it being completely sending letters to each other fake drums and overworked guiand that’s the only way you could tars. So I basically emailed Brian contact anyone. Like I wanted to over his MySpace like, ‘Hey dude, work with this guy so I just hit up I’m blah blah blah, and if you’d this guy on MySpace. It makes like to record a record at this everything so much easier and time.’ He hit us back two days anybody can listen to your band later saying ‘Guys, I listened to at any time.” the EP and I really loved it. I want to do the record. I’m not available What are you hoping that people at that time, but I’m really keen will get out of the album? to figure out a time.’ We’ve got a “I hope that people read the lyrmanager over in the US that really ics and take them onboard. The buckled down and found us the record is a pretty personal record. money for flights and stuff. But it It’s about different circumstances

in my own life that I don’t think are right: trying to figure out the world that we live in and things we all know shouldn’t be like that.

“The main point of the record is to get people thinking a bit about what’s important and what’s not important. Things that we value everyday, like going to work nineto-five and buying too many pairs of shoes, that shit doesn’t mean anything!”

Did you go into the writing process of this album with a plan of what you wanted to do both lyrically and musically or is writing a much more organic process for you guys?

“In terms of writing, because there was a long time between releases and we were writing pretty much straight away after we finished the EP, obviously we wrote a lot of songs that didn’t make it. But we kept writing until a month before we left.

“Musically it was the best of what we have produced in the past few years and we really got to the

point of what we want. We got a new drummer and a new bass player, both really talented and really awesome dudes, and it has been great in that sense.”

What were your influences on the new CD? Because there is definitely a change in sound from that of the EP. “I definitely think it’s the sound of progression. When we wrote the EP we were just like 15 or 16 years old. This time around we had a much more mature upbringing and approach. Like we had been touring so much while we were 17 and 18, so we learned a lot out on the road and by watching other bands. Obviously, we’re still always buying albums always getting new records, and that hasn’t stopped. So I think that we have a much more mature perspective of music now and I think that definitely shows on the new record.”

What are you stoked on musically at the moment?

“Well obviously the new Circa Survive track is ruling my world.

They are still my favourite band and have been since I heard Juturna in 2004. But I listen to a lot of more straight up hardcore bands, like No Warning and Rise & Fall and Lewd Acts that’s really what I’m into at the moment.

Deathwish stuff pretty much, but basically more thrashy stuff.”

You’ve come a long way since winning that Battle Of The Bands Contest 2 years ago, did you ever think you would get to be this big, you’ve played with some big bands and toured all of Australia now, so your not really underground anymore?

“Honestly we never thought we would. We played in garage to four kids because we just wanted to play music, and I attribute that to why it did work. When we were 17, we were driving to Brisbane for one show and it was costing us like $100, but we would do it because we wanted to play shows.

“We consistently did that until we started got offered tours and we were like, ‘If they want us to do

tours, let’s go and do it.’ We all quit our jobs and we had $200 for a month to live on, but let’s just go do it.”

You tour with bands like Mary Jane Kelly and City Escape a fair bit, how important is it that your friends bands are involved in what you do?

“I feel like I would want somebody to do that for us when we were young and just starting the band.

I know a lot of our own headline tours, we’ve always taken a band along that are good friends. It’s really important.

“It’s a hard climate right now for a band to become fulltime or busy, because every time a local band has a show there are four or five international bands with a show the same night. So you’ll see only like 15 or 20 dudes at a local show. I’ve seen some really good bands recently playing local shows to 10 or 15 people. It’s really hard so you’ve got to do what you can to help.”

What is your take on the local

hardcore community here in Australia?

“It has definitely changed after I got back from America. I went to a couple of hardcore shows in the States and it just makes me laugh because, hardcore in America, I can understand why it is the way that it is. When you look around the cities and you walk around the streets, shit is really bad. It definitely is a lot different from here.

“But when I see hardcore bands here and they’re singing about how terrible their city, how fucked everything is and just blantantly negative shit, it’s like ‘Fuck man, you live in one of the best cities on the planet – how can you have that perspective and be true and be real?’ That’s why I love hardcore bands. To me that’s truth and that’s them being real.

But when I see a lot of Australian bands singing about that shit, we’re not even exposed to any of that. We’ve got one of the best lives and we’re born into privilege, basically. It seems so fake to me when hardcore bands in Australia

sing about that kind of stuff.

“As far as the community goes, it’s great! It’s pretty widespread as hardcore is a pretty big style of music in Australia. There are always shows on and it’s good.

You never want that to end.”

Do you think living in East Melbourne – like you live in Mount Evelyn – shaped you differently from what the band would have been if you were a city band?

“I definitely think so! I think it’s had a big part in shaping, not so much as a band, but hugely as individual people. I walk out onto my porch every morning and see this full view of a mountain, obviously that’s going to have some profound effect every morning.”

What advice would you give to kids that want to start a band?

“Don’t follow trends! Don’t do something because its cool at the time, do something that means something to you, make music that speaks to yourself and don’t give a fuck what anybody else says. That’s pretty much it.

I mean a lot of local bands that I see are just replicating something another band did like six months ago. It’s a real bummer to see.

“A lot of young bands I talk to even think there is a formula for getting big, like if we have clean singing and we have this sort of part and we look like this or present our band in this way we will get big. I don’t think that’s the right attitude to even start with.”

After everything you guys have achieved now, what do you see left to do?

“Tour overseas. We really want to do that, because going overseas rules and you make legitimate friends. We’ve now got friends in Baltimore, so next time we go back there there’s no doubt that we can go and hang out with them. Its freedom, we love playing shows, so if we can get paid to go overseas and play shows, then that’s the dream.”

INTERVIEW: SARAH PETCHELL LIVE PHOTOS: LACHLAN HICKS

Bands Youve Never Heard Of TITUS ANDRONICUS MySpace: http://www.myspace.com/titusandronicus Label: XL Recordings Hailing from New Jersey, Titus Andronicus are a punk rock band who have made quite the name for themselves in a relatively short amount of time. Their newest album, The Monitor, sounds like Bruce Springsteen and Bright Eyes had a jam in a sweaty, suburban garage and liked the result so much they wrote a concept album based on the American Civil War. This is Titus Andronicus’ sophomore release after a swathe of EPs and 7”s that show the band is pushing the indie-punk boundaries. Add the fact that the band are named after one of Shakespeare’s most brutal plays and that they are as accomplished musically as lyrically, it’s then clear that this is a band with a scope and focus not many of their peers possess.

Lindsey Cuthbertson

BISON B.C. MySpace: http://www.myspace.com/bisoneastvan Label: Metal Blade Records Born from the ashes of a seminal, Vancouver skate-thrash band, S.T.R.E.E.T.S. Bison B.C. are every head banger’s wet dream! Drawing comparisons with the likes of Kylesa, High On Fire and Baroness is no easy feat, but with colossal riffs that easily move into sheer fuzzed out shredding and with enough punk-rock angst to keep things raw and exciting, this is definitely a band that don’t deserve to be passed by unnoticed, even if metal is becoming over-saturated with Mastodon wannabes. Their latest album, Dark Ages, is a definite culmination of the promise they showed with their debut, finely tuning their sound to riffbased metallic perfection. Even if that perfection is housed within loud and sludgy tunes played by hairy dudes in dirty denim jackets shredding on Flying V’s. Sarah Petchell

THE SECRET MySpace: http://www.myspace.com/thesecret Label: Southern Lord Records Southern Lord are one of those labels that if they announce they’ve signed someone new, I’ll immediately check out exactly who they are, or if a new album comes out I’ll automatically get it. So the announcement of the signing of Italy’s The Secret to the label, meant these guys immediately needed to be given a shot. Their version of metallic hardcore is relentless and uncompromising: completely anti-melody but pro-cacophony, combining elements of crust/grind, primitive black metal, dark soundscapes and monolithic riffs that steamroller the listener. They spent April holed up in Kurt Ballou’s Godcity Studio recording their Southern Lord debut, Solve Et Coagula and I can’t wait to hear the results! In the meantime pick up everything else they’ve done and get ready for an aural assault of epic proportions. Sarah Petchell

THE OMINOUS ORDER OF FILTHY MONGRELS MySpace: http://www.myspace.com/beastfuckanimal Label: Chainsaw Safety Records If D-beat bands (think Disfear or Discharge) are your thing, then The Ominous Order Of Filthy Mongrels are definitely for you! A sonic concoction that is as equally fast as it is heavy, it had vocals that attempt to be as abrasive as possible! With memorable riffing and emphasis on the groove, these guys are definitely not the type of punk you’re going to show your 14-year-old sister! With a demo available through their label’s website (soon hopefully) in the meantime you have to deal with listening to their tracks on MySpace but you’ll find yourself going back again, and again, and again, just to have your ears raped by this aggressive combination of speed, heaviness and sheer brutality. And everyone lived angrily ever after… Sarah Petchell

ASH POOL Website: http://www.hospitalproductions.com Label: Hospital Productions This could be one of the most raw-as-fuck, black metal things happening at the moment. The riffs sound like a rusty chainsaw at times, but when they slow down they take on a more brooding tone. The drumming will hit you at blistering speeds and then just follow along like someone is creeping up behind you in a dark alley. The production is so dirty that it should make any fan of old school black metal rejoice as someone out there still knows what it feels and sounds like! Sure to keep your attention with their use of light and shade, loud and soft, and fast and slow making this band engaging to all the sense. For Which He Plies The Lash is out now and it’s killer! Michael Anderson

CASPIAN MySpace: http://www.myspace.com/caspiantheband Label: The Mylene Sheath (US)/Make My Day (Europe) This post-rock/post-metal instrumental trend that’s going around at the moment, while enjoyable, has made me skeptical of bands that attach those tags to themselves. In the case of Caspian, all skepticism has been put aside and I’m a believer! With two full-lengths under their belt, Tertia (the most recent) is as close to a sonic masterpiece as you can get! Combining the sonic sophistication of Brian Eno, the crushing heaviness of Isis or Tool, and the emotive ambience of Sigur Ros or M83, these guys have definitely hit upon a musical formula that will one minute make you feel like you’re being crushed by heaviness to being uplifted and floating across a soundscape of chiming guitars. Definitely an emotional listening experience, but one well worth the effort! Sarah Petchell

New Music

From the opening riff, it is clear that Canada’s Cancer Bats have stepped it up yet again on their third full-length, Bears, Mayors, Scraps & Bones. Who would have thought it possible that they could have out-muscled 2008’s Hail Destroyer, but Bears, Mayors, Scraps & Bones is like a musical trip down a seedy back alley of some god-forsaken slum. And almost literally with ferocious tracks like ‘Sleep This Away’ and ‘Dead Wrong’ just waiting in the shadows to stick a blade between your ribs and leave you gasping in the gutter. Liam Cormier’s vocals have continued to improve with each album and it would be a fair statement that Bears… is the album where he truly shines…or should that be roars? Either way, this head-banging slab of hardcore-metal leaves one hell of a lasting impression! Lindsey Cuthbertson Sounds like… Every Time I Die, Gallows, This Is Hell

Bears, Mayors, Scraps & Bones – Cancer Bats ROADRUNNER RECORDS Half a decade ago As I Lay Dying crept quietly from being just another metalcore band amongst the herd to being perhaps the premier exponent of the genre in 2010. While other bands have disappeared or changed styles completely, As I Lay Dying have perfected their particular brand of hardcore tinged metal and with that The Powerless Rise is 11 songs of technically proficient aggression. Tim Lambesis and co. don’t look to reinvent the wheel with this release, but with songs such as ‘Condemned’ there is no need to. Each song is filled with headbanging riffs and catchy chorus’, representing As I Lay Dying in perfect form. If you liked previous records by the band, you will more than likely be thrilled by The Powerless Rise. Chad Sexington Sounds like… Parkway Drive, August Burns Red, All That Remains

The Powerless Rise – As I Lay Dying Metal Blade/RIOT! The latest of six releases from Orange County band Bleeding Through is a self-titled full-length. Over the past decade these guys (and girl) have been putting out their mixture of hardcore and metal, and you’ll be pleased to know that with this record not a lot has changed, asides from the addition of new guitarist Dave Nassie. The tracks are filled with badass blast beats, pedal tone riffs and symphonic keys, so take notes kids as this is the secret to Bleeding Through’s success. Personal favourites include ‘Anti-hero’ and ‘Distortion Devotion’ both of which are melodic yet brutal, although I know there are some other gems which other fans may enjoy more. It’s good to see Bleeding Through in their eleventh year as a band and still producing the goods. Brett Muskett Sounds like… Bleeding Through being Bleeding Through

Bleeding Through – Bleeding Through ROADRUNNER RECORDS After a three year absence, Philadelphia experimental rock group Circa Survive return with an album that blows anything the band has ever done out of the water. Their second album, 2007’s On Letting Go, was a disappointment, so for Circa Survive to achieve what their talent always hinted at is a breathtaking experience. The biggest improvement on Blue Sky Noise is that from beginning to end it is a succinct and fluid record; whether they are treading familiar territory on ‘Glass Arrows’, exploring balladry during ‘Frozen Creek’ or just simply rocking out in ‘Get Out’. Circa Survive hit the nail on the head each and every time. Expect to see this album on many people’s shortlists for Album Of The Year come December. Lindsey Cuthbertson Sounds like: The Sound Of Animals Fighting, meWithoutyou, Thrice

Blue Sky Noise – Circa Survive Atlantic/UNIVERSAL In their short career, this Melbourne hardcore outfit has certainly made its mark, and their first vinyl outing, Human 7” expands upon the promise that their live shows and debut full-length demonstrated. This time around, they’ve taken the bluesy riffing of Dear World, combined it with traditional hardcore influences, to create an amalgamation of tracks that set this band apart from their peers. EP opener, ‘Decades’ sees the guitars experimenting with grooves rarely heard in hardcore, while the almost six-minute ‘Warehouse’ takes on a slightly more poppy and upbeat tone, before moving into traditional hardcore structures. Overall, the EP is cohesive, catchy and lyrically relatable. A definite progression for a young band of exceptional talent. Sarah Petchell Sounds like… Break Even, Miles Away, Carpathian

Human 7” – Hopeless TRIAL & ERROR RECORDS Spit Venom is Had It’s first release for Arrest Records and after a vicious demo released last year, the follow up is as equally pissed off! Obviously a band that are angry about a lot of things in life, Had It aren’t afraid to show it with straight up hardcore and some well placed guitar solos. Spit Venom is an appropriate title for the EP as each vocal line is delivered with bile. Re-recorded songs ‘Celebrities’ and ‘Fight For Nothing’ are the standouts here, truly displaying the message Had It are throwing in your face. There are no surprises here: you know what to expect after the first 30 seconds, but if you like your hardcore old school and pissed off, this is exactly what you want.

Chad Sexington Sounds like… Ill Brigade, Bad Blood, The Dead Walk

Spit Venom EP – Had It ARREST RECORDS

New Music

On the Indie Rock end of the spectrum here at No Heroes are this six-piece from Newcastle, and Like…Alaska have made a brilliant EP! Layered acoustic guitars, multiple vocalists and a real feeling behind their songs means this softly spoken EP is a beautiful testament to the songwriting skills of an amazing band. It’s one of those releases that is listenable from beginning to end. The songs really build within themselves and it was with anticipation that I waited to see what would come with each track. There is a real honesty to the lyrics telling tales of sadness, loneliness and the life of living in a town like Newcastle. Definitely an EP that grows on you more with each listen, Insufficient Funds is highly recommended. Craig Lukic Sounds like: Chuck Ragan, The Loved Ones, A Death In The Family

Insufficient Funds EP – Like...Alaska POISON CITY RECORDS After a few years in the wilderness, Red Sparowes returns with their third album, The Fear Is Excrutiating, which is most definitely on par with their previous efforts. I like the atmosphere of the album and the guitar tone is really nice. The calmer moments will keep you still but the hazy distorted moments will lift you to a completely other plane of listening. The thing I find most interesting here is the way each instrument does its own thing. They blend well off each other but it is one of those albums where you can just focus on the bass lines in one listen, or to one of the guitars on the next listen and then perhaps the vocals on the third. This album captures an essence of wonder and beauty, certainly making it moving listen and definitely not an excruciating one. Michael Anderson Sounds like: Mogwai, Explosions In The Sky, Mono

The Fear Is Excrutiating – Red Sparowes Hydra Head/STOMP A band’s debut album is usually a bit awkward and sometimes disappointing, much like two virgins having sex. I am happy to say that I Exist’s first full-length effort 1: A Turn for the Worse, is far from this. It starts off with some feedback and a few drums here and there, which suddenly explodes with dredging guitar and the harsh vocals of front man, Jake Willoughby. Highlights of the record are ‘One Thousand Hooves’, ‘The Weak Shall Fall’ and the eight-minute epic ‘A-Bomb Blues’. The tracks have a unique sound for such a new band. Overall, the band have mixed doom and old-school metal elements into their brand of hardcore, while production-wise the vocals sit low in the mix giving a raw sound, letting the instruments boom and giving listeners something to bounce their heads to.

Brett Muskett Sounds like… Cursed, Trap Them, Coliseum

I: A Turn For The Worse – I Exist Common Bond/SHOCK What happens when you take the drummer of Converge and the guitarist of Thursday and get them to write music together? You would think it an unlikely partnership, but the result is Acid Tiger and their debut self-titled album effortlessly melds together enough energetic sway and sheer rock swagger to create a truly unique melding. For some reason this album reminds me a bit of Narrows meets The Bronx, with some old school, bluesy rock thrown in for good measure. So basically it’s crushing heaviness with enough rock & roll attitude and groove to get you dancing! Just take opening track ‘The Claw’ as an example. Vocal sass, fret gymnastics and a soulful darkness combine to make this the most fun you’ll have with a heavy record all year! Sarah Petchell Sounds like… Dangers, Cancer Bats, The Bronx.

Acid Tiger – Acid Tiger Deathwish Inc/STOMP In all reality, the later punk/rock style of black metal Darkthrone is spawning these days is pleasing many while upsetting others. For me, I’m totally enjoying every moment of this ‘New Wave Of Black Heavy Metal’ and Circle The Wagons is possibly its best offering so far. These guys know exactly what they want to do and they are perfect at it. Whether it just be a good old thrashing riff, more doom like elements, or even traditional DIY tones, the thing is that they still keep that signature raw, Darkthrone sound and that is what makes them so distinctive. The vocals (even the singing) and lyrics work, the riffs work, the drumming works. The raw and filthy sound and production fits.

Simple or not, Darkthrone has always been effective. Great album! Michael Anderson Sounds like: Well, Darkthrone, and old school metal.

Circle The Wagons – Darkthrone STOMP I’m probably not the best person to judge a 108 album, but 18.61 was certainly not what I expected. Lyrically powerful and sonically dissonant, this is an intense album from the opening track, ‘God Talk’ until the closing seconds of ‘Early Funeral’. The standout track for me is most definitely ‘Crescent Moon’ which races at the topmost, manic speed before crashing into one of the heaviest parts of the album. With new drummer Mike Justian (Trap Them, Unearth) on board a new dimension has been brought to the sound with the album pushing the envelope rhythmically, adding to the intensity and power of the album. Clearly, 18.61 is another reaffirmation of why 108 are one of the most important and influential hardcore bands in existence right now. Sarah Petchell Sounds like… Shelter, Unbroken, Trial

18.61 – 108 Deathwish Inc/STOMP

New Music

The first thing you need to know about this debut album from Adelaide’s Paper Arms is that is was produced by Walter Schreifels, and the exceptional production does perfect justice to the equally exceptional quality of songwriting and performance that the band shows on Days Above Ground. Melding intricate stop/start rhythms with anthemic punk-rock vocals that have a lot in common with Against Me and Hot Water Music, this is certainly an album that lives up to Paper Arms’ reputation for putting on a powerful live show. Tracks like ‘An Outbreak’ and ‘Breathing Solutions’ really stand out with their emotional vocals and guitar melodies. But the thing that sets this band apart is their honest, raw and mature take on their punk rock roots. Don’t let this slip you by! Sarah Petchell Sounds like… Small Brown Bike, Fugazi, Rival Schools

Days Above Ground – Paper Arms POISON CITY RECORDS The first thing that you notice about The Flatliners is that vocalist Chris Cresswell has one of the best punk vocals that I have heard since Hot Water Music. And it is these vocals that standout as the thing that makes Cavalcade one of the exceptional pure punk albums that will come out this year. The entire album is fast-paced, raw and damn catchy, particularly in the gang-vocal-led choruses of tracks like ‘Carry The Banner’ and ‘Bleed’. Drawing on influences the likes of The Gaslight Anthem on ‘Monumental’ and even ska and reggae during ‘He Was A Jazzman’, but none of this detracts from the punk spirit that shines through! If you’re a fan of punk in general then Cavalcade is definitely an album for you! Sarah Petchell Sounds like… A Wilhelm Scream, The Lawrence Arms, The Loved Ones

Cavalcade – The Flatliners Fat Wreck Chords/SHOCK One might have thought The Ocean was heading into a more post-metal direction with Precambrian. Not the case.

Heliocentric is an album that, although keeping the atmospheric and sludgy elements, almost feels as though it is heading more ‘mainstream’ so to speak. This is not a bad thing as it still stirs the senses, plus there is much more to it than this over simplification would suggest. A lot more singing, more of a verse and chorus type song structure, but enough disjointedness in the riffs and experimentation with the pianos, cellos and violins to keep things interesting. It reminds me a little of a less bizarre Maudlin Of The Well, just without all the death metal elements also. Good listen. Michael Anderson Sounds like:

Heliocentric – The Ocean Metal Blade/RIOT! Beyond Terror, Beyond Grace are a grindcore explosion from Sydney and Our Ashes Built Mountains is a brutal declaration of their intentions. An album that is unrelenting from start to finish, you only have time to breathe for a few seconds between songs before you are pulled back under for another pummelling of blast beats and demonic vocals. The album is claustrophobic and suffocating in the best way, possible like the best of Napalm Death, but even when BTBG bring down the speed, you still feel engulfed by their noise: the eight-minute long instrumental ‘Murakami’ showing the depth the band has. This is one for the true lovers of brutal metal to turn up loud and bang their heads to. Chad Sexington Sounds like: Rottensound, Napalm Death, Darkthrone

Our Ashes Built Mountains – Beyond Terror Beyond Grace UNSIGNED A solid debut album after the lead vocalist left during its making, this prog metal outing is highly capable. Alternating equally from guttural vocals to a clean sing, which overlays the stuttering guitars and interspersed keyboard augmentations. Coming in at over an hour it’s a massive effort and due to its length the album can sound repetitive at times. Sound-wise Periphery comes across as a little over-produced, which while it helps accentuate the technical side of the guitars and other instruments ultimately comes across sounding slightly sterile. However, this still remains a highly promising debut from a young and ridiculously accomplished band, with certain signs of genius to come. Craig Lukic Sounds like… Meshuggah, Bulb, Between The Buried And Me

Periphery – Periphery ROADRUNNER RECORDS The very first spin of this record had me drawing comparisons to the great Miles Davis and his avant-garde jazz extravaganza Bitches Brew. Coyote, the fourth album by US experimental group Kayo Dot, is a sparse kaleidoscope of musical tastes. The group meshes together jazz, metal, rock and free time like it’s second nature – and considering that Kayo Dot has forged a career out of composing sparse albums that challenge their listeners’ conception of music, Coyote sits at the top of their pile. I’m not usually one to drop an expletive in a review, but I’ll make an exception here: Coyote has to be one of the biggest musical mind fucks I’ve ever experienced. And that’s not a bad thing in the slightest… Lindsey Cuthbertson Sounds like… Nothing you’ve ever heard before!

Coyote – Kayo Dot Hydra Head/STOMP

THE SMITHs (1982-1987)

Lineup: Morrissey (Vocals) Johnny Marr (Guitar) Andy Rourke (Bass) Mike Joyce (Drums) Cause Of Death: Inner band disputes Compulsory Listening:

Sometimes music just hits you in the guts with a sledgehammer. Whether it’s a melody or a rhythm, a note sung or an underlying message, something about the music just gets you.

It’s almost like it knows how to explain what you’re feeling inside better than you could ever do yourself.

I know this because on my 17th birthday I was given The Smiths’ entire back catalogue as a gift, and that musical sledgehammer of theirs nearly knocked my head off my shoulders.

The effect wasn’t immediate. I don’t think I really understood the true power of the music of The Smiths until I turned 19.

Hatful Of Hollow (1984)

The Queen Is Dead (1986)

“Strangeways Here We Come” (1987)

Last issue I raved about Black Flag’s influence on my 19-yearold self as well, so there must have been something significant about that age for me. Musically, my universe was in the throes of its very own Big Bang, and in amongst the shining stars the music of The Smiths burned brighter than most.

A lot of the credit of the band’s success usually goes to the velvet-voiced Morrissey and the spangly guitar work of Johnny Marr, but when combined with the equally talented rhythm section of bass player, Andy Rourke, and drummer Mike Joyce, it was undeniable that The Smiths had a special something about their music.

Something that set them apart from the other poodle-haired, shoulder-pad wearing, cocaine sniffing wash ups who did their best posing as bands in the Eighties.

But back to The Smiths, and most importantly, their music.

It was this strange juxtaposition of melancholy with tonguein-cheek humour, where 60’s pop influences walked hand-in-

hand with those of the post-punk movement.

The Sex Pistols had been and gone, The Clash had exploded and outgrown their punk beginnings and Joy Division had left a musical black hole of disillusionment and soul-wrenching despair that was yet to be filled. The Smiths were the next logical band to fill that void.

As a vocalist and lyricist, Steven PHOTO: GETTY IMAGES

PHOTO: GETTY IMAGES

“Back when I was 19, I thought the dude was my messiah. There’s so much tongue-in-cheek bravado in Morrissey’s lyrics, but dig beneath the surface and you find his demons...”

In my eyes it’s practically genius!

Back when I was 19, I thought the dude was my messiah. There’s so much tongue-in-cheek bravado in Morrissey’s lyrics, but dig beneath the surface and you find his dark insecurities lurking like demons: case in point being the song ‘Stop Me If You Think That You’ve Heard This One Before’. Just look at the title for a moment and appreciate its many layers of meaning.

Patrick Morrissey was head and shoulders above his rivals…literally so with his large quiff-styled hairdo. However, when he delivered wistful lines in his baritone voice – lines like “I would go out tonight, but I haven’t got a stitch to wear” in the 1984 single ‘This Charming Man’. I just didn’t know whether to laugh along with his predicament or embrace the severe lack of confidence that this one line exudes.

PHOTO: GETTY IMAGES

Being given all the albums The Smiths ever created made me miss out on the whole ‘searchfor-the-holy-grail’ experience you have when you discover a band, but I didn’t care. Instead I was able to lay on my bed on a Sunday and listen to every album in chronological order and hear their speedy progression from the hitand-miss upstarts on their selftitled debut, to masters of their art they had become on “Strangeways Here We Come” in the short space of only five years later.

The problem with trying to pinpoint a favourite album of theirs is the fact that on every release

that The Smiths ever put out (and please ignore the plethora of ‘Best Of…’ compilations that have come out since their 1987 break-up) there are at least two songs that sit in the list of the best songs that this band have ever written.

So how influential was the music The Smiths on my life, you may ask? I once used the lyrics of ‘How Soon Is Now’ for the inspiration of a short story assessment in my second year of university.

When I look back on some of lines Morrissey penned for that classic tune (“There’s a club if you’d like to go / You could meet someone who really loves you / so you go and you stand on your own, and you leave on your own / and you go home and you cry and you want to die”).

I now realise that it perfectly summed up my mopey life as a single man. I ended up getting a High Distinction for the story, with those lines of Morrissey used as an epigraph.

After the band broke up, the members went their separate way and have never publicly considered a reunion.

Morrissey has since gone on to forge a career penning melancholic ditties on multiple releases under his own moniker, and in doing so has probably had the most successful musical career post-The Smiths.

Johnny Marr started a few bands and even played in Modest Mouse a few years back.

Earlier this decade Andy Rourke and Mike Joyce took Morrissey and Marr to court over the band’s songwriting royalties and won.

Countless bands have tried and failed to emulate that special little something that The Smiths possessed. And long may it remain that way…

WWW.NOHEROESMAG.COM