Issue 4 | Defeater by Sailor's Talk Magazine

sailor’s talk magazine ISSUE 4 | NOVEMBER 2015

SPEAK LOW IF YOU SPEAK LOVE | SPEAKING THE KINGS | MORE TO MONROE MODESTEP | LIGHTYEARS | TASTE OF CHAOS + MORE

STAFF: CEO // Editory-in-Chief // Art Director: JAKE LAHAH

Contribution Photographers:

ALEXA FRANKOVITCH, BROOKE LONG, CAITLYN WILLARD, HANNAH BRANIGAN, JAKE LAHAH, PENELOPE MARTINEZ, RYAN STACEY

Contributing Writers:

ELNA DIEZ, KAMNA TALWAR

GET CONNECTED: TWITTER: @SAILORSTALKZINE Instagram: @SAILORSTALKZINE

SPECIAL THANKS TO: AUSTIN GRISWOLD // SECRET SERVICE PR, MICHELE STEPHENS AND CHRISTINE MORALES // EPITAPH RECORDS, MIKE CUBILLOS // EARSHOT MEDIA, VANESSA LOVETT // MSO PR, AMY SCIARRETTO // ATOM SPLITTER PR, REY ROLDAN AND MARIA GIRONAS // REYBEE PRODUCTIONS, DAYNA GHIRALDI AND BECCA WILSON // BIG PICTURE MEDIA, ERIN THOMPSON // GRAND STAND HQ, TO EACH AND EVERY PERSON, BAND, ARTISTS, OR INDUSTRY PROFESSIONAL HIGHLIGHTED, AND LASTLY... YOU!

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ALBUM REVIEWS

I N D U S T RY S P O T L I G H T: AT O M S P L I T T E R P R

INTRODUCING FRANKIE BASS

L I V E R E V I E W: TA S T E O F C H A O S

L I V E R E V I E W: H E A RT F E S T 9

L I V E R E V I E W: M O D S T E P

INTRODUCING: LIGHT YEARS

MORE TO MONROE

SPEAKING THE KINGS

SPEAK LOW IF YOU SPEAK LOVE

L I V E R E V I E W: A P T O U R

G A L L E RY

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40 O N T H E C O V E R / / D E F E AT E R

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ALBUM REVIEWS Myka Relocate - The Young Souls Razor & Tie // October 30th, 2015 Razor and Tie/ Artery Recordings Myka Relocate just released their newest album The Young Souls on October 30th. While the band is most likely celebrating their release while the rest of you are indulging in some candy with Halloween tomorrow, you should treat yourself to this album and here’s why! Myka Relocate’s The Young Souls is a game changer in the metal-core music scene. It’s not typical you find an album as full of surprises as this one brings. The band’s first single “New Again” was released giving the impression that the band was going to challenge the normal of metal-core music. This album is so much more than that with the experimental creativity that went behind it. The album opens up with “Hide The Truth” blending a nice mix of heavy, unclean vocals with this ambient wave of electronic elements. The song blends elements from pop-rock artists along with bringing a cutting edge sound making it something the jam to. Immediately following that is “Bring You Home” bringing in a more playful attitude in the way that the electronic aspect responds and resonates well with the chorus. While keeping the heavy vibe, Myka Relocate keeps the playful tone and attitude with clean vocalist Michael Swank’s melodic sound. Giving listeners something new, the song “Only Steps Away” introduces an all clean vocals song. This exemplifies the versatility Myka Relocate presents to the table with this album. The overall mood and experience of listening to this song shows how much thought was put into creating this album and how we see small and minor elements of heavier music incorporated into the song perfectly balanced with the more dramatic pop-rock style of it. The inclusion of the orchestral build up in the end of the song creates a perfect touch. SAILOR’S TALK | 6

“Nerve” surprises the listener from the start. The first ten seconds of the song misleads the listener into thinking it would be more pop like sounding with the abrupt shift into a heavy verse. The chorus brings back the style of the beginning making this nice rhythm between the heavy and the clean pop-rock vibe. “Cold Hearts” is probably the most innovative song on The Young Souls. Myka Relocate really pushed the pop-rock and heavy blend seeing where they could take it with this one with the introduction of electronic fillers that contrast really well with the melodic voice. Unclean vocalist John Ritter presents this aggressive personality with the song “Rescue Me”. The heavy build up of the song leads into what appears to be one of the catchiest and unique choruses. These two elements incorporated together are harmonious even though they are completely different. “Idle Hands” has the most emotional response to the listener with this majestic feeling chorus that blends and contrasts well with the heavy elements of the album. The album wraps up with the title track “The Young Souls”. This song has the fastest tempo giving it a more poppunk feeling to it within the chorus. The incorporation of electronic, pop, and heavier elements are also introduced in this song showing a good representation of how well the band is diverse in the style and elements of the song. Overall, The Young Souls is a breakdown of how dynamic Myka Relocate can be. It’s definitely an album that challenges the typical metal-core album and one that shouldn’t be overlooked. With the innovative and creative meaning behind it, The Young Souls easily deserve a 5 out of 5 rating on this one. For fans of: Issues, Memphis May Fire, Slaves review by Jake Lahah

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The dramatics and electronic sensibility in this album creates this perfect high tech energy that suites the bands personal aesthetic. Crossfaith’s Xeno tears down the walls with metal-core with the introduction of a heavy influence of electronic elements into the work. This Japanese metal-core band is the definition of an “in your face” experience. Songs like “Xeno” and “Dystopia” have a fast paced cyberpunk feel to them. With a fast tempo music that brings out a loud and bold sound, these songs contrast well with some of the albums more somber ones like “Tears Fall” and “Astral Heaven”. “Ghost in the Mirror” is probably the most engaging song with inclusion of vocals from Caleb Shomo of Beartooth. The song also contains various electronic breakdowns that translate and intermix with the hardcore nature of the band. Let’s just say that Crossfaith has achieved the level “cyberpunk” mixed with metal-core that other bands failed to achieve. review by Jake Lahah Crossfaith - Xeno Razor & Tie // September 18th, 2015

Like Moths To Flames - The Dying Things We Live For Rise Records // October 23rd, 2015

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Like Moth’s To Flames newest release The Dying Things We Live For is a great example of the fresh of the old. This album contains the same consistent Like Moths To Flames’ style of metal. But that’s not to limit the album to new achievements. “The Art Of Losing” is a prime example in the way the band brings something new and fresh to the table with the incorporation of vocals that are produced in a higher pitch. The rapid and pop-punk styled chorus is intermixed with the sounds of metal-core music making it a powerhouse of vibrant sound. The Dying Things We Live For also contains Like Moths To Flames’ surreal sounding vocals in the chorus. Songs like “The Give And Take” along with “Wasted Days” exemplify that well. The albums presence is much different from the start is different compared to some of their previous releases. The first song “No King” shows off what the band is capable and how the album is going to be fueled by aggression yet passion at the same time. Like Moths To Flames has redefined the purpose and direction of their fuel for their music while still keeping that Like Moths To Flames touch their style has. review by Jake Lahah

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Enter Shikari - The Mindsweep: Hospitalised Hopeless Records // October 30th, 2015 It’s rare to find a remix of a song that is as good as the original. Enter Shikari’s latest release, The Mindsweep: Hospitalised, out October 30th via Hopeless Records, features 12 reimagined tracks mixed by renowned drum and bass artists from UK’s Hospital Records. These remixes match the original tracks from the January 2015 release. Enter Shikari has always incorporated elements of electronic dance music (EDM) in their discography, beginning with Take To The Skies (2007) where they fused metalcore features such as harsh vocals and breakdowns with EDM-styled synthesizers in tracks like “Labyrinth” and “Mothership.” As their career progressed (Common Dreads – 2009, A Flash Flood of Colour – 2012), Enter Shikari ventured further into EDM, following influences like Pendulum and The Prodigy. Today, Enter Shikari is known for fusing the two genres of dance and rock together while setting themselves apart and creating a unique, niche fan base. Remixed versions of their tracks became more and more common as their discography matured, so releasing a full album of mixed drum and bass tracks seems like the natural next step.

In addition to these heavy tracks are some liquid-influenced drum and bass pieces. “The One True Colour,” mixed by Keeno, is a slow, mellow track with fast beats that rattle off softly in the background. The sampled bits from the original are altered to a much slower tempo and there is a sense of intimacy in the middle of the track when the vocals are singled out. The Hugh Hardie mix of “Torn Apart” has some liquidy influences as well and sounds much more atmospheric and mellow than the traditional rock-sounding original. While many of the remixed tracks draw heavily on the originals, several artists took a completely different spin. Probably the most transformed remixed track on the album is “Interlude,” mixed by The Erised. The original, which is a little under one minute long, features epic-sounding horns and wailing guitars that serve as a crescendo in the album. The Erised version, which stretches the original track to four minutes, keeps the main brass piece and atmospheric guitar parts, but adds dance elements reminiscent of the 80’s, like electrified bass. There are also female vocal samples that are not from the original release.

The London Elektricity mix of “Dear Future Historians” deviates from the original with sped up piano and vocal samples. This mix transformed the ballad-like original into a chill, liquidy drum and bass track. “There’s A Price on Your Head (Danny Byrd remix)” is another example of a unique twist on the original. The remixed version keeps the overall energy from the frantic original, but dials down the chaos Overall, the artists at Hospital did great job of transforming and blends it with violin samples to create a beautiful and the original tracks while staying true with the often political energized track. messages and distinctive feel of Enter Shikari. For example, “The Bank of England (Lynx remix)” respectfully keeps the Another big difference in the new release can be found powerful lyrics and retains the overall bouncy beat, but is in “The Appeal & The Mindsweep II,” mixed by Krakota. more stagnated and less bright and playful than the original. While the remixed version keeps the main hook and does a nice job of mashing Enter Shikari’s powerful feel with a Most of the tracks are hard-hitting and relentless, offering fresh beat, Krakota didn’t include the sample from “Sorry, energy and excitement. “The Appeal & The Mindsweep You’re Not A Winner” (Take To The Skies) that is referenced I,” mixed by Metrik, features an eclectic array of sounds in in the original. This is unfortunate because Enter Shikari has the first drop, like deep bass paired with the high-pitched always made mention to one of their previous tracks in their stringy melody from the original track. “The Last Garrison newer releases as a sort of legacy to their discography, and (S.P.Y. remix)” is a dynamic mix that features fast and slow removing this line breaks that continuation. beats and serves as a stripped down version of the more flowy original. “Myopia,” mixed by Bop, is another heavy The release closes with a bonus track, “Slipshod,” mixed song that keeps the creepy and droopy mood from the by Urbandawn. This energetic track is charged with blends original and then hits with heavy and discordant pixelated of heavy, deep bass and accented by stringy melodies and sounds featuring choppy beat splicing. The fast tempo and changing tempos. This track is an awesome closer to the aggressive beats are almost hardstyle-esque in this track. album. The Etherwood mix of “Never Let Go of the Microscope” keeps the rap-influenced verses from the original, but slows it down to a chill mood and then almost comes to a stop in the middle as Rou Reynolds’ voice is singled out to “I got a sinking feeling” and siren-like tones wail in the background. “Anaesthetist,” mixed by Reso, is another heavy track that has a bouncy beat that hits hard and nicely synchs the original with a new, creative sound. SAILOR’S TALK | 8

The Mindsweep: Hospitalised is respectful blend of Enter Shikari’s original tracks with a heavy dose of drum and bass that can be expected from Hospital Records. This release is unique enough to be enjoyed by those who are not already familiar with the original release, and it is definitely worth listening to if you’re a fan of Shikari’s experimental flirtations with dance music. review by Kamna Talwar TWITTER: @sailorstalkzine

INDUSTRY SPOTLIGHT

WHO?: AMY SCIARRETTO WHAT?: FOUNDER OF ATOM SPLITTER PR WHERE?: RUTHERFORD, NJ Briefly say who you are and what you do. Amy Sciarretto. Publicist. Writer. Dog Shelter Volunteer. Doer Of Everything, Atom Splitter PR. What is Atom Splitter PR? How did you build this PR company? Do you have any previous experience before working for Atom Splitter? It’s my own PR firm. I am not a freelancer; I am an Inc. I worked at Roadrunner Records for 12 years, working with everyone from Slipknot to Korn to Meat Loaf to Nickelback to Rob Zombie to Machine Head to Gojira to Theory of a Deadman to Hatebreed to Opeth. I left in November 2012 and started Atom Splitter in December. My first band was Killswitch Engage, who I worked with since Day One at RR. They are still my cornerstone band because I decided to stay in PR to keep working with them. Attila were my second band and they are a core band for me, also. I love them so much. People questioned me when I started working with them, but over time, the band’s media profile has changed and I am proud to work with them. Things snowballed and grew exponentially VERY quickly. What are some of your favorite artists to work with? Why? Do you feel that loving the artists you work with are important for your job? OMG, I do love all my bands. Right now, the new For Today record Wake is my favorite. I think “Broken Lens” is one of their best songs ever. I also love the variety of the Spinefarm roster. It’s so much fun and never a dull moment, because we have everything from Atreyu to Amaranthe to Michael Monroe. When in-house at a label, I had to work whatever was signed and I loved that challenge, because I had to find ways to create media pitches based on strategy, not personal preference. Lucky for me, I loved MOST of the bands on RR. But if there was a SAILOR’S TALK | 10

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case where I didn’t LOVE the music, I learned to like it and learned to love the people in the bands, too! Whether I like the music or not does not effect how I can execute a press campaign, though. In fact, I love the challenge of creating a media profile or extending an already established one where it takes me time to “get” it, musically speaking. When I happen to love the music, that’s just an extra perk! I tend to become personally invested in the bands and people I work with, so I will do anything for them! Since I can accept or decline a project with my company, I usually always take on things I love or based on relationships I have with the manager or label. What difficulties are there working in publicity? Have you had any huge troubles at all in the industry? Anything fall through the roof? As with anything in life, there are ups and downs. I spend a lot of time chasing things -- chasing bands to do interviews, chasing media outlets who have committed to coverage. It’s a lot of hurrying up and waiting, repeat follow ups, and educating media outlets about a band and what makes them worth the coverage. It’s very strategized, which I love. But only publicists “get” that. A lot of people think it’s as easy as calling an outlet and viola! You get a cover or a feature. That’s not how it works; it takes time and effort, and tenacity. I have dealt with everything from a band missing a cover photo shoot to burying a story that was potentially damaging to a band member’s personal life to covering for a band that blew off an awards show to smuggling drinks backstage to a band member who wasn’t allowed to drink before shows to managing the press conference and being the company representative in Iowa when Paul Gray of Slipknot passed away in 2010. That was the hardest professional 48 hours of my life, because someone I cared about died and because people who are near and dear to my heart —the members of Slipknot, who I worked with for a decade— lost their brother and their bandmate and were in agonizing pain. It was VERY hard to stay stoic at the press conference and I eventually couldn’t any longer. As a publicist, what is your main goal or objective when working with artists? Do you have a specific mindset or goal in sight? It varies from band to band, but the basic goal is to build the band’s media profile and get them press coverage across as many outlets. I can be as simple as pitching and scheduling interviews to managing their image and correcting misconceptions and righting wrongs. Each band has different goals and targets; some are ripe for late night TV and magazine covers. Others need an online base built. But my goal TWITTER: @sailorstalkzine

is to always put them in front of the media and build a clip. I enjoy working with most of the media outlets and writers I deal with, too! I learn from them. They inspire me. They amaze me with THEIR passion and THEIR support of my bands! Do you find that having a consist relationship with journalists and writers is an important thing? If so, why? A billion percent. Having a healthy, consistent relationship with writers is important. I check in with some writers even when I don’t have an act that fits their outlet just to stay in touch, to know what they are up to, and to see if there is anything I can do for them in relation to my bands. Do you have any outside hobbies from working in publicity for Atom Splitter? I know you are a huge pit bull lover! Yes. I have an English bulldog, named Higgins Hansen Anselmo-Sciarretto. Yes, he is partially named after Philip Hansen Anselmo from Pantera, my favorite metal singer ever! Yes, I told Phil when I interviewed him (I also write for mags and sites) a while back and he was like, “That’s fucking awesome.” Higgs is my BFF. I also do love the pit bull breed. Those dogs are ALL love. I volunteer at an animal shelter on weekends; I walk dogs every Saturday and Sunday, take them to the park, run with them, and give them lots of love or leftover pizza. It is good for my soul and theirs; I post photos on Instagram so people can see that this breed and that shelter dogs deserve a second chance. I am almost like a publicist for the pits. It’s physically exhausting, because getting fivesix pits that weight 50+ lbs. out of their kennels and out for a trot across three to four hours is a struggle, because they are excited, strong, want to play, etc. But it’s worth it. It’s also emotionally exhausting, because I grow to love these dogs and it crushes me when some wait five to six months for homes. When some of the long terms or senior dogs get their furevers, I am known to burst out crying with joy. I get so proud when I see them flourishing in their new homes; I sometimes exchange IG or emails with their adopters since it’s like adopting out a family member to me. I love horror movies, Philadelphia sports, and The Golden Girls, too. What advice do you have for those interested in doing publicity in the music industry? What is a good way to get involved and how can people move forward with it? Intern early. Intern often. Get experience. Do whatever you can, remotely or on site. But start early and INTERN! I can’t stress that enough. interview by Jake Lahah SAILOR’S TALK | 11

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INTRODUCING

First I have a few background questions. What genre do you typically play? Live, right now it’s only drum and bass. How long have you been playing music? (all types) 20 years Where do you typically book/play most of your shows? Mostly in the DMV area but I just came back from a weekend of shows in PA and got booked for a show in New York at a glow in the golf course. Should be fun, a golf cart is in our contract. How does the DC scene differ from any other scenes that you’ve been around? It’s pretty cutthroat and if you are an artist from this area you usually don’t get treated well and taken advantage of. When all you want to do is just play some shows. Anytime I play out of the area I am treated like a God. You also play a lot of metal and other genres outside of EDM. How do you mix those together? Very carefully. No I usually do all the metal first and then add elements of electronic music to accent the track. Do you have a formula or writing strategy? My first rule of writing is never push it. I just let it come to me. I don’t have a schedule, I just like it to be spontaneous so it’s real and not programmed like a robot. But when I have a dead line, I tend to do pretty well with it. What’s your favorite track that you’ve written? Hmm... My favorite track?? It’s probably one in the works called “The Journey” a new track I have been working on with my new Mc Se7en. It’s kind of an homage to all the epic tracks of yester years by groups like Concord Dawn and John B. Now a few questions about the Frankie Bass Show... Tell me about your radio show. Who runs it? Where is it aired? When did you start doing that? What days/times? Any cool show plans or guests? I had this radio group from Facebook (QBASEFM) hit me up asking me if I would like my own slot on their Radio show. They gave me a list of open time slots and I pick Sunday at 4:30pm my time till whenever I want. Usually ends up being 8 or ten pm. It is on FM radio in the UK at 108.0 FM and online at www. qbasefm.co.uk. I started roughly about 3 months ago and took a break because I moved to Baltimore last month, having some equipment issues but should be back on soon.

And your newest EP... How was the writing process for Automate Me and what was that EP influenced by? Well I actually started writing the track in 2011 and it just sat on the back burner for ever. Then my friend’s label Modern Savage hit me up asking if I could help them by doing an EP with them since they had just started out. Of course I was like sure, so I went digging for some tracks to send to them so then they could pick 2 they wanted. So I picked “Automate Me” and “Hail to The King”. “Automate Me” was just me using a new technique I had learned with high attack synths and some filters. Then “Hail to The King” was actually a bet with my brother I had made after he told me I could make chip tunes as well as him so I showed him by making that track in like 12 hours. What’s your top track off of that EP? I like “Automate Me”. It was a huge step in production quality for me. And finally a few questions for what’s going on right now... You’ve been really busy lately with the new radio show, moving, playing shows, etc. Tell me more about what you’re up to. I am currently working on 11 different tunes for licensing to help finance my move to LA to start a band with DJ Rap and my MC Se7en. It’s going to be a metal/drum and bass band kind of like Pendulum but harder. It will be mainly metal with drum and bass elements in it. So far the tracks that I have written alone and some with Se7en are insane and I can’t wait to get started. I am planning on moving early November. Are you currently writing? I have been writing nonstop mostly tracks for the band but also some drum and bass tracks. What’s something both new listeners and old fans can look forward to from Frankie Bass in the next couple of months? I will have a new mix dropping when I leave and possibly a preview of the bands music. Is there anything else that you want to add or highlight?? I would like to thank all of my fans for being my fans and listening to my music and supporting me through the years. I promise what I have in store for you guys will blow you away and when I come through the area with the band. I hope to see you there!!!! interiew by Kamna Talwar. TWITTER: @sailorstalkzine

REVIEW AND PHOTOS

BY HANNAH BRANIGAN

Hearing that the Taste Of Chaos festival was returning this fall was exciting to hear, especially when it happens to be in Southern California. I unfortunately never attended any prior years, since my mom didn’t let me start letting her daughter go to shows other than the Jonas Brothers until after 2009. Warped Tour in 2009 ended up being one of my first “real” shows. My older brother had always told me about the Taste Of Chaos and Warped Tour festivals, and I was always intrigued by them. This year’s lineup consisted of nobody I’d ever seen live or shot before, but I was excited for every single one. Jimmy Eat World, Dashboard Confessional, The All-American Rejects, and Mark Hoppus’s now infamous DJ set were all on the top of my list of bands to see/shoot. I kept telling myself that when I was shooting Mark, I was I “kind getting to shoot Blink-182,” which obviously wasn’t the case, but it was fun to pretend. I’d grown up listening to Jimmy Eat World, Dashboard Confessional, The All-American Rejects, and Blink-182, so I knew shooting Taste Of Chaos was going to be one of those big full circle moments I always have when I shoot certain bands. I arrived mid-day, and I was already starting to pray for my pale Irish skin, as I am unfortunately the queen of getting sunburned. Mark Hoppus started off as a highlight of the day, with his incredible lip sync renditions from everything from Blink’s “The Rock Show” and “Family Reunion” to songs from Frozen. Dashboard Confessional played all my favorite throwback songs, and I found myself singing “Stolen” from the crowd after I’d finished shooting. But Jimmy Eat World! JIMMY EAT WORLD! They started off their set with “Pain,” and it took everything in me to not scream the words while shooting in the photo pit. However, at the end of their set, they closed with “The Middle” (obviously), and all the photographers had all been waiting at the side of the photo pit to go back in for The Used, and there was not a single photographer who wasn’t singing along to that song. That was the highlight of the day for me. I had always heard incredible things about The Used’s live set, and I was in awe of Bert’s theatrical and powerful stage presence. Overall, it was a long but productive day that hit me right in the middle school feels. Thanks you, Taste Of Chaos. Hopefully it will return next year and I am able to come back! SAILOR’S TALK | 16

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Bringing on some of the scenes best local and do-it-yourself hardcore bands, Canada’s premier Heart Fest was nothing less than a success. This non-profit, benefit show brought out No Warning and Expire for headliners for this ninth installment of the show. With a prosperous outcome for the festival this year despite some troubles, overall the event promoted the hardcore community in a positive and uplifting manner. Just Incase you missed it (or don’t live in Canada), check out some of the photos our photographer Ryan Stacey took at the event.

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P H O T O S B Y RYA N S TA C E Y

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MODE

REVIEW AND PHOTOS

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STEP

BY JAKE LAHAH

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UK native electronic and dubstep-rock artist Modestep shut down D.C. back in September for the DC MEGA that happened on the 9th. The shocking thing was how dynamic of an artist Modestep is in the realm of the EDM world. Modestep completely redefined the electronic experience within their live shows with production and quality of their show. You don’t typically see guitars up on stage at Echostage unless it is an indie-rock show. Modestep geniously influences the live performance of an EDM show with the live production and quality of a rock concert in one night. Modestep’s performance at the DC MEGA shut down the nations capital topping off the night with two concerts infused into one. The production for the bands show was nothing less than spectacular with an absolutely insane amount of movement. The way all four members engage actively get the crowd participating. Even though it

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is uniquely different to see moshing at an electronic based concert, Modestep makes it feel comfortable with their dubstep-infused, high energy show. For fans of metal music and those that may just like a smidgen of electronic music, this might just be your new favorite band. Modestep is able to clearly articulate the boundaries between their music and how they define each individual track on the scale from electronic to the more metal sounding electronic. Overall, Modestep is one of those bands that produces a high class production within the EDM community. While different and unique, this band finds a common ground between two genres creating an overall musical ecstasy during their live shows.

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INTRODUCING...

LIGHT YEARS

Please introduce yourself. Who is Light Years? When did you guys form? Give us a brief history of what you are all about? My name is Pat Kennedy, I play guitar and sing for Light Years. The rest of the band is made up of Tommy Englert on bass, Andrew Foerst on guitar and Kent “Slinky” Sliney on the drums. We started out in 2010 in Kent Ohio where we were all attending college at the time, shortly thereafter realized school sucked and touring was more fun and ended up hitting the road instead of the books. You guys have an album out November 13th. Can you give us some update on it? What’s it going to be like? Is there anything particular you guys are excited about it? We are very excited for our new record to come out. It is easily our best stuff yet. I feel it truly captures what Light Years is. We went into the making of this record as if it was going to be our last, so we didn’t hold anything back at all. As far as pop-punk goes, you guys seem to have a very dynamic sound that is unique. What brought you guys to make music in this particular sound? Was this something established from the beginning? Was

it something you have developed over the years? We have always strived to create music that was our own. Yes we have many influences that are easy to hear i.e. blink-182, Saves The Day, The Get Up Kids, and so on. But we never wanted to be a blatant rip-off band. I think we do a good job at putting our own signature on a style that can be easily repetitive and bland. What was the inspiration behind “I’ll See You When I See You”? Was it based on a central theme? Was there personal experiences involved with writing this album? As we have grown older and been doing this for a while, the question of how long it will last is always in the back of our minds now. We know we aren’t going to be able to support ourselves or a family off of being in a punk rock band, and no one gave a fuck about that when we were 22/23, but now we are like getting into “real adulthood” and it’s kind of like “damn do we keep doing this or...” So the idea of this record was lets play it by ear and if we got more in the tank after this we’ll keep going, so I’ll See You When I See You seemed to fit. Would you say your hometown played into the writing of your music? If so, are there personal

experiences you guys can remember of that helped influence your work centered around being in Cleveland, Ohio? Definitely. I have written so many lyrics about the suburb we grew up in outside of Cleveland called Medina, Ohio. I have very fond memories of being a kid and hanging out with my friends in specific parking lots, and riding our bikes in the middle of the night down the street. I can still clearly see all these things in my mind to this day. I think it is something a lot of people our age can relate to, missing the way things used to be. Is there a specific song on the new album you believe resonates well with you? If so, why? I think my favorite song on the new record is called “Living in Hell.” I feel that it perfectly describes Light Years style. It has a little bit of an edge to it, but is still catch as hell. Lyrically the song “I Wish I Could” is probably the most personal song I have ever written. So that also resonates with me when I listen to it. Are there any bands you have a personal connection to that helped write the newest album? Who would these bands be and why? These songs are 110% Light Years. We have made some life long friendships with some bands in the scene and I

don’t take those for granted, but when we were writing these songs we didn’t want anyone else’s fingerprints on them but ours. What is the meaning behind the artwork of the new album? Is there a hidden metaphor inside of it? A major theme in the record is uncertainty and how you never know what the hell is gonna happen next in life, so we thought a blurry picture of some sort would be cool, and help illustrate that idea. Our friend Andy Wells did the art and I think he did awesome. What’s next for Light Years after this record? Can we expect you guys to be touring or producing music videos? Yes! We just filmed a video for a song and hope to do more. And we will be touring anywhere and everywhere... Anything else you’d like to say to your fans. Thanks to anyone who has ever given us a chance, we have never been a “cool” band but that has never mattered to you guys so I hope you will enjoy the new record as much as we do. interview by Jake Lahah photo provided

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NEWLY SIGNED ROADRUNNER RECORDS BAND MORE TO MONROE ARE UNDER OUR RADAR FOR ONE OF THE MOST ENGAGING NEW BANDS. IF YOU HAVEN’T CHECKED THEM OUT YET, THEY WILL FOR SURE TURN YOU INTO A FAN WITH THEIR INTERESTING BLEND OF PUNK AND METAL! Fairly new to the Roadrunner Records roster, More To Monroe is comprised of just four dudes who seem to love playing music. Since their release of their EP Appalachia, the guys are eager to get out their playing music. For being a band that started out as a small do-it-yourself group, there comes responsibility and learning all the pulley and levers of the music industry. While the day may have spent hanging with the band chatting up at the local Frederick, Maryland pizza shop, a lot has been uncovered about the band showing their passion and why you need to listen to them in regards to their remarkable new EP. These four guys comprised of Chris D’Aquino (Vocals, Guitar), Sam Smisek (Guitar, Vocals), Johnny Jamison (Bass, Vocals), and Jacob Maughan (Drums, Vocals), formed a band as a friendship within the Frederick, Maryland community. With all their excitement towards their signing to the label, their recent release of their newest EP to Road Records is what the band has been looking forward to the most. Now that it has been released, nothing but good words can come from this release. When asking More to Monroe how they felt about their EP Appalachia being released soon, the band expressed nothing but anticipation as they waited for it. Chris D’Aquino explained that it had been a long process, and that it was completely unreal for their work to be on a label. Chris also explained that the transition between being a do-it-yourself artist and a signed band was a little difficult because they were excited and enthusiastic to share their music. TWITTER: @sailorstalkzine

So why should you listen to More To Monroe? Appalachia brings out the band’s “A game”. Upon first hearing the EP, it opens up with the song “Jack” which introduces the style and tone of the band. Comparable to the vocals of Mike Hranica of The Devil Wears Prada, the band meets in the middle ground of punk and hardcore with this unique balance of the two genres. Songs like “500 Days” and “Horizons” bring an ambient vibe that contrasts well within each song. Appalachia conquers something higher than your normal metal-core band; it brings a dynamic and exclusive sound that is unparalleled as a whole to other bands. The emotion and energy within each song is high, showing the bands passion and aggression within each song. Fueled by many of the instrumentals, the EP is extraordinary in the way it is composed and developed for a band releasing their first EP on a label. Besides the fact that the guys put out a killer EP, they have a passion like none other. The guys are eager to tour and really just want to share their music with aficionados from all genres. There are lots of bands in the industry that do it for the money or to pay the bills, but More To Monroe does it because it’s something in them that they love to do and that it is something within them. Being one of the fresh new bands gaining popularity in 2015, these guys got potential. Sailor’s Talk Magazine is very excited to see where the band’s next adventure is going to take them and they are definitely the band to keep under your radar. story and photos by Jake Lahah. SAILOR’S TALK | 31

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So you guys will be releasing your new album Carousel on October 16th. Describe the writing and recording process for that? What went on? Before even knowing who we were going to record with, we had a literal board of possibilities we put together. The list of producers ranged from being pretty accessible and easy to get a hold of to straight up dream producers that we knew were out of reach. We were staring SAILOR’S TALK | 34

at the board and discussing all the producers, along with past albums they have worked on, and the one album that stood out across every member collectively was THE HERE AND NOW by ARCHITECTS, produced by Steve Evetts. We knew that Steve was local but never thought we could get the opportunity to work with him considering his amazing track record. In fact, I actually remember us sitting in our rehearsal studio

and laughing about the thought of working with Evetts and how far fetched it sounded to all of us. A few days later, we got a call from Nuclear Blast saying they worked out the details and we were on Steve’s schedule. The word ecstatic doesn’t even describe the feeling we all had when we found out, we then proceeded to pick up our jaws from the ground. The recording process with Steve was nothing less than incredible. TWITTER: @sailorstalkzine

Unlike any other producer we have heard of, Steve started the process with sitting on our practices leading up to the recording and making structural notes of each song and making suggestions that he heard. It felt great having him there constantly saying “what about this” or “let’s try it like this” because he made us feel actually produced, not just being there to “push record”. We actually were very lucky that his studio is right down the street from most of us so he TWITTER: @sailorstalkzine

dedicate more time to evolving the songs in the right direction. After preproduction was done, it was time to get in to the studio and that is where the real fun began. Steve is not only an amazing producer but also an incredible musician so when it came to recording, he knew what a good take was and what an even better take could be. He never let us take an easy way out (which we never wanted) and would push each of us to the limits of our skills, if not beyond. Steve has a strict rule that each musician records without anyone else there, preventing the “too many cooks” effect and being able to focus one on one with the individual. Everyone in the band had the same experience with Steve even though we experienced separately. Everyone left the recording experience exhausted, beat, worn, and weakened. On the same note, we all left as better musicians, an appreciation and respect for Steve that we would have never known had we worked with him, and most importantly…a kick ass cd that reflects all our emotions. What does this album touch on lyrically? Does it have any hidden meanings or ideas embedded in it? This album is not only a reflection of what many people experience in their lives but also reflects our emotions that we went through when recording this cd. Topics range from losing a close friend to rising up to anyone that has been told “you aren’t good enough” or “you will never amount to anything” mentality. We like to write songs that can be relatable to anything without being too specific. Our favorite pastime is to talk to fans and pick their brain about how a song has affected them or what they took away

from it. The title of the of album, Carousel, is actually taken from the one of the songs in the line “… stuck in the carousel you call life”. The meaning behind that is that people will stay on this “carousel” as it goes round-and-round and they will do nothing about it. The only way to break the cycle is to take matters in to your own hand and make your own path. Nothing will be handed or given to you so don’t wait around on that carousel till you think it comes around, go out and earn it for yourself. What is something Speaking The King’s does that no other band does? Does this help identify you as a band? In this day of age, it’s hard to think outside of the box with all the technology and social media sites. We really didn’t want to rely on any sort of gimmicks or tricks to establish this band. The two things we pride ourselves on and focus on being different are our music and our live show. With our music, we didn’t want to go down the same route many bands have gone down. We didn’t want to really solely on the heaviest breakdowns, nor did we want to only focus on vocalist doing runs with his voice like Christina Aguilera. We wanted to write music that has a little something for everyone music wise, heavy at moments but still managing to have it’s lighter side without feeling forced. Our other attribute that we really pride ourselves on is our live show. We might not be Dillinger Escape Plan and hanging from rafters but definitely aren’t sleeping on stage. With every show our main goal is to go out there and first and foremost, have a good time. Our other priority is to make sure that the crowd is having just as much fun as we are on stage, accomplishing that by involving SAILOR’S TALK | 35

them with every chance we can get. We do this for the love of music and for anyone that is willing to give us a chance to listen so putting our hearts out there on stage is a standard with every show. With the both of these qualities combined, we hope to catch anyone off guard that has never heard or seen us, as well as not disappointing anyone who is already an STK fan. How did you guys meet/form as a band? Was it a high school formation of a band? Give us some history on the band. Speaking the King’s was a product of a few different bands, combining the best qualities of each to form a cohesive unit with the same aspirations and goals based out of Orange County, California. All the instruments were in a prior band together playing a little heavier music. We were focusing on more technical and heavier tastes musically, no singing whatsoever. After having a discussion and wanting to pursue a more fun and energetic musical style, we parted ways with screamer at the time. In this same time frame, we had booked recording time in Florida with Tom Denney (ex A DAY TO REMEMBER) for our EP, Here To Stay. We weren’t going to reschedule our time in the studio so we flew out there without anyone on vocals and recorded only the music. Soon after recording our music we were back on the hunt to find the right individual to harness the reigns of this musical beast. Just so happened that another well known local band had split up but they were fronted by an amazing singer that had not only a charismatic and magnetic personality but the voice to back it. The contact was made through mutual friends and an audition was set up. He came in with confidence, wrote some great hooks, and looked good doing it. It was everything we were looking for and at that moment we knew Bobby was the one for the job. We offered him the spot, he flew out and recorded the EP and the rest was history. Would you consider this release coming up a breakthrough moment for the band? If so, why? Carousel is a massive milestone for this band. It is the

culmination of everything we have worked so hard for in the past couple years, from the first day of making the decision to pursue a different style to putting the finishing touches on the artwork. We feel so grateful and appreciative to even have gotten the opportunity to make this album, not being possible without Nuclear Blast. The biggest reason why we consider this to be such a breakthrough and milestone because of the opportunity we had to record this. There are so many amazing musicians out there that bust their ass and work as hard as they physically can but will never get that opportunity to record an album with their dream producer. Unfortunately, it’s not because of what those individuals have done but a combination of how the industry works and the biggest part, timing. We feel beyond lucky to venture in to this realm of reality and dream. What can we expect from Speaking The King’s over the next couple months? Anything good in store? New tour? Etc. The next few months for Speaking The King’s are going to be the biggest ones to date. At the moment we are focusing on the release of Carousel and making sure everyone in the world knows who we are and what we’re about. It sounds like a tall order but Nuclear Blast has an amazing team and they have been working nonstop to get our name out there. Along with the release, we would like to take this to the road and continually meet anyone that wants to hang! We don’t have anything confirmed yet but the machine is in motion behind the scenes and shooting for a national tour before the end of the year, if not the beginning of 2016. With Carousel being the first release of ours, we know that we still have a lot to accomplish and earn but that still won’t slow us down, if anything, it will push us to strive for more than is imaginable. interview by Jake Lahah photo provided

SPEAKING THE KING’S CAROUSEL OUT NOW VIA NUCLEAR BLAST RECORDS

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What’s it like balancing two projects? Do you find yourself dedicated towards one or the other? What was the reason behind starting Speak Low If You Speak Love? Truth be told, balancing two projects keeps me incredibly busy. “Me time” is almost nonexistent, but it feels incredibly rewarding. To be a part of two different musical endeavors that are full time and fun is more than I ever expected. Although I’m constantly tired, I’m fulfilled. Obviously State Champs is my priority, but Speak Low gets all of my attention when I’m not on the road with Champs. It’s a good time jumping from one to the other. I actually began Speak Low before I joined State Champs, so it kind of sat on the back burner for the first year while I settled in with the new band. I started it to get back to my roots: honest storytelling with an acoustic guitar. Raw and focused. You just released a music video for “Knots”, what was it like filming that? Filming the video for Knots was a dream. I did a short run with Real Friends in Japan and I knew I wanted to shoot a video there, so I flew out my friend and the director of the video, Elliott Ingham, and we got busy. Everything is so fast and exciting in Japan and I knew it would be a perfect place to set the scene. I drew a lot SAILOR’S TALK | 38

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SPEAK LOW IF YOU SPEAK LOVE TWITTER: @sailorstalkzine

of inspiration from the movie Lost In Translation. Whether or not that’s evident, the entire approach to building the storyline and finding the perfect shots was a great deal of fun. Being in another country is always exhilarating. I think it turned out gorgeous. How do you think fans reacted to your last release Everything But What You Need? Did any of the feedback shock or surprise you? Everything But What You Need was a rerelease, so I wasn’t sure what to expect. At the time of the release, which was March 2015, it had already been out independently for about a year and a half. Rereleasing it through Pure Noise gave it new life. It exposed the record to new fans that would not have found it in the first place. Originally the reaction was positive, but small. The label release surprised me in a different way - it kind of proved to me that even though I recorded the record in a living room, it wasn’t just a collection of throwaway songs. People reached out to me to let me know that it resonated with them in a special way. Such a cool feeling. Do you plan on Speak Low If You Speak Love to be a long term project? What is the ultimate goal with it? There was never any goal or expectation for Speak Low If You Speak Love. I wrote songs in my bedroom as a way of therapy. But now that the project has blossomed, I’m looking forward to writing songs that others can connect with. If I never become a Dashboard Confessional or a City and Colour it won’t necessarily bother me. I’m just having fun writing what I know and experience. It’s as simple as that. What are some of the things that inspired you on your last release? Is there any deeper meaning in your lyrics. My lyrics are always personal, but I think I deliver them in a way that is vague enough for the listener to interpret the message the way they choose. It’s fun to discover how to be blunt without giving away every little detail. Everything But What You Need at its core is a record about personal failures and a few missed opportunities, but there are hopeful spins throughout. You just have to listen to find that out. What do you generally like to write about when creating songs? As well, what goes through an artists mind when they are writing? I can’t speak for every artist, but I value being able to recreate a moment in time and freeze it, in a way. There are always those snip-its in life you wish you could stop replaying (or replay again), and that’s what I try to capture in each song. Scenes told from different perspectives, or moments of “I wish I would have done this differently.” Writing songs is just storytelling. It’s fun because I’m so much better at developing complete thoughts when I have time to do it, rather than being on the spot. If you’ve ever had a conversation with me, I trip over my words constantly. Writing songs gives me the chance to flesh out what I want to say and how I want to say it. What’s next for Speak Low If You Speak Love? Well I just finished up my first full band tour ever with Four Year Strong and I’m looking forward to doing more of that in the future. I have some cool acoustic touring plans for December, but they haven’t been announced yet so I don’t want to give that away. Other than that, just tour tour tour when I’m not touring with State Champs. I’m currently writing for my 2nd LP - It’s coming slowly but surely. I have some cool things to talk about.

Anything else you’d like to say? Go vegetarian.

interview by Jake Lahah photo provided (by Kayla Surico) SAILOR’S TALK | 39

NARRATIVE: A SPOKEN OR WRITTEN ACCOUNT OF CONNECTED EVENTS; A STORY.

DEFEATER

just released their newest album Abandoned via Epitaph records. Notoriously known for writing of conceptual albums, the band’s newest release continues a narrative about the Catholic priest from one of the songs title “Cowardice” from their album Travels. With this never ending narrative that Defeater plans to continue on, the band has a lot to say about writing process and the meaning behind the release and being an artist in the music scene. We got the chance to speak to the lead vocalist Derek Archambault about this in relation to their newest album Abandoned.

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Since the tour is wrapping up, what’s it like being on such a diverse bill will all these different artists on the Four Year Strong headliner? It’s been great. This is the type of bill we all grew up seeing them be so diverse. There’s been seven different bands in total that have been in and out of this bill. So it’s been nice to change it up. I feel like these are the types of shows we all grew up going to see with a nice diverse lineup. It’s a good thing. With your most recent release Abandoned you guys went the route of making a concept album. Well, each record as been a concept album. They are all tied in together. It’s all one giant overarching story. So this is the fifth record we’ve recorded and they are all tied in together. When we started the band we decided we were only going to write records within this template and story. Would you say that with this release you are coming close to an end? Or is the story something that continually goes on? It’s never going to stop until we decide the band is over. This album has a very dark sounding vibe to it. Is this something you guys set yourself out to do as a band, or is this something that coincidentally happened? I’d have to say that every release we’ve done has some pretty dark moments on it; if not, a majority of it is fairly dark. I’d say this one is a little bit heavier that it has much more feedback laid in it. Jake went a little above in beyond with the guitar parts in the melodic structure. Definitely not something that we necessarily set out to do. It’s just we knew lyrically what I was going to write about. So, we wanted the music to reflect the lyrics and the lyrics to reflect the music a little bit. Do you think that Defeater’s writing approach is a little more natural? We don’t ever sit down and say we want to write this type of song. Just whatever comes out, comes out. We usually just end up revising it later. Specifically, with the writing process of Abandoned, what did you guys do that is unique compared to the other albums? This is the first record that everyone had a hand in writing it from the beginning. That’s really the only difference otherwise it’s all been constantly revising. Do you want people to feel a specific way with your music? If so, what is it? No. It’s meant to be interpreted by people. It’s the same concept as people that get different things SAILOR’S TALK | 44

from books, songs, and movies. It’s up to people’s interpretation. It’s just another art form that people can take whatever they want from it. What were some of the personal struggles with writing this album? One of the biggest things is us being revisionists. It’s one of the big problems we face. Every member of the band wants to change things and make them better as we are refining the record. We either get sick of parts or we think they can be better. We’re lucky with Jay in the band being able to work in the studio a lot longer than most bands get to. Our revision process is essentially telling our guitarist what we want to do. How do you think the fans are relating to Abandoned? Did you get a different reaction from previous releases or do you feel this one was more successful? I don’t really pay attention to anything like that. I hear what people tell me and see a couple reviews here and there. But I really keep my ear low to the ground as far as knowing what people are saying about the internet about our records. Do you guys find that writing is something that you do for yourself versus other people? In a totally selfish way yes. I write everything just to be able to do it for myself. The scene we are apart of in the overarching sense of it being in punk rock and hardcore, yes it is for the kids and the community to keep this positive place going. My lyrics are just an extension of myself and I do it selfishly because I can. I’m not writing to try and connect with people or change their lives. If it happens naturally that’s great. If kids attach themselves to these lyrics organically and naturally that’s amazing. But I never set out to sing along with alcoholism, drug addiction, and people murdering each other. I’m writing a crazy fictional story and the fact that people like it is amazing. I do it more because I can do it, not for the kids. Do you feel like it is something you have to do or are born to do? Are there other motives behind it? We all just get lucky. I got lucky to be able to do it and be in this band releasing our fifth record. What influences help you write this album? Are there any movies, books, or works of non-music related texts that help you write it? It’s way more of a literary influence for me. Always! Salinger and McCarthy are two of my favorite authors that I pull from all the time. Fitzgerald is another one TWITTER: @sailorstalkzine

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that I have completely imitated what he did in The Great Gatsby to show how people unknowingly influence all the other lives around them. That’s exactly what this story does. Do you consider this album a breakthrough release for the band? No, it’s really just another chapter of what we have done. I don’t think bands breakthrough anymore really. The internet brings up and dissolves bands in a span of a month. So you are either a good band putting out good records or you aren’t. The world doesn’t have time for breakthrough artists anymore. I don’t think it exists. Do you think musicians hold a certain level of responsibility in society? That’s a really loaded question. I think humans have a responsibility to each other that people overlook all the time. Fake internet fame doesn’t translate into a larger responsibility for somebody. I’d say no I guess. Just be a good person; it doesn’t matter what your occupation is. What can we expect over the next few months from Defeater? We’ll be doing a lot of touring and a little bit of time at home. interview and photos by Jake Lahah

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THE AP TOUR

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PHOTOS AND REVIEW BY JAKE LAHAH

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The year 2015 is the return of the AP Tour headlined by Mayday Parade. For a tour that has been continually going on for years, itâ&#x20AC;&#x2122;s exciting to see this tour make a comeback after a long hibernation. This tour brought out some of best rock and pop-punk artists out there in the scene for support. This unique lineup from stellar performances from Real Friends, This Wild Life, and As It Is made this tour completely unique and different from previous years with a focus on artists that truly work hard and deserve the recognition.

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What really makes this tour so special from the rest is the exhilaration of being at this year’s show. AP and Hot Topic brought their “A” game surpassing some of AP’s previous tours over the past few years, as well as the AP Fall Ball in 2010. What AP has brought to the table is what seems to be the biggest production we’ve seen on the AP Tour yet. From fantastic visual displays, special effects during Mayday Parade’s set, and an overall amazing presence with each band, this tour proves itself to be one of the must see tours of this fall. This tour is nothing but a kick ass experience showing music enthusiasts exactly what they are waiting for.

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TWENTY ONE PILOTS PHOTO BY HANNAH BRANIGAN TWITTER: @sailorstalkzine

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PHINEAS PHOTO BY ALEXA FRANKOVITCH TWITTER: @sailorstalkzine

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SECRETS PHOTO BY HANNAH BRANIGAN TWITTER: @sailorstalkzine

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HOLLYWOOD UNDEAD PHOTO BY CAITLYN WILLARD TWITTER: @sailorstalkzine

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VANNA PHOTO BY RYAN STACEY TWITTER: @sailorstalkzine

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SLEEPING WITH SIRENS PHOTO BY HANNAH BRANIGAN TWITTER: @sailorstalkzine

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CROWN THE EMPIRE PHOTO BY CAITLYN WILLARD SAILOR’S TALK | 64

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YELLOWCARD PHOTO BY CAITLYN WILLARD TWITTER: @sailorstalkzine

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TORO Y MOI PHOTO BY JAKE LAHAH TWITTER: @sailorstalkzine

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NEW FOUND GLORY PHOTO BY CAITLYN WILLARD TWITTER: @sailorstalkzine

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