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MAY/JUNE 2018 Always Lead My Feet With My Chest Note From The Editor Hope In Your Hands Bold As Lions talk struggles and spreading hope EDITOR-IN-CHIEF Janet Adamana
ASSOCIATE EDITOR Ally Sigurdson PROMOTIONS DIRECTOR Steff Shields
SOUND, PHRASE & FURY is a Canadian music magazine out to promote musicians not usually covered in mainstream media. All music, photos and articles used are for the purpose of spreading the knowledge of these artists and their music. We always encourage readers to support every act by purchasing releases, merchandise and attending live shows.
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Mostly Everything Is Terrible But Not charliebaby charliebaby and their ever-changing style.
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Artists To Watch Our artist picks for May & June
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DIY Diehards 16 TUSK and their love for for self-recording. Lost In The Right Direction Matt Talley and his debut EP, The In Between.
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info@soundphrasefury.com @soundphrasefury facebook.com/soundphrasefury soundphrasefury.com
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ALWAYS LEAD MY FEET WITH MY CHEST
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We're excited to continue following the growth of the independent music industry and we are more than excited to have you all there for the ride.
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Summer is soon upon us, and summer SOUND, PHRASE & FURY, and we are forever means a whole slew of new music, new thankful for the chance to help share it all festivals and new tours for us (and our with the world. fellow music lovers) to enjoy. Stick around for the rest of the summer as We’re kicking off the start of that glorious we are growing and working on exciting season with our May/June issue chocked endeavours to help capture more of these full of amazing stories from equally artists' stories, in a fun and interactive way. amazing artists; stories about struggle, about finding hope, and happiness with We're excited to continue following the who you are and what you have to offer growth of the independent music industry, this world. We are forever grateful for these and we are more than excited to have you musicians for always being so open and all there for the ride. ecstatic about sharing their stories with
It drives my pen, and brings truth to surface.
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Janet Adamana Editor-In-Chief
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HOPE IN YOUR HA
Using their music as an avenue to inspire is alt-pop duo, Bold As Lions. The group have helped spark a far-reaching positivity movement centered around self-love, storytelling and building a sense of community with those around you. We spoke with Karli and Sean Quigley, about the importance of sharing stories of struggle, highlighting hope and how anyone and everyone can make a positive impact.
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STORY BY JANET ADAMANA
JA: You touch on a lot of dark issues but spin them with a positive light. What inspired the positivity movement you’ve started with your music? KQ: We meet a lot of people who are going through a lot of things, so for us, if we’re not talking about stuff that matters, what’s the point? We talk a lot about dark issues, whether that’s things with mental health or addictions, and we do a lot of storytelling. The people we meet on the road or throughout our lives, we write about their lives and the biggest thing is we don’t want to just sit in the darkness within those stories, but we want to share with the people listening to our music, that there’s hope at the end of that road. That’s always been a big passion of ours, is writing music that matters, that means something, so when people listen to a song, they know they matter, they’re not alone, that they’re loved, and they can keep going even if it’s one more day.
JA: Most people don’t want to let anyone know about those secret struggles, like ‘I don’t want to be vulnerable.’ KQ: I think that’s something we’ve seen a lot of. The domino effect that we hear is people hear a lyric or a story that we talk about and say ‘I was feeling that same way, but I didn’t want to talk about it but now I can because I feel like I have a little bit of courage, a little bit of hope.’ That’s really what we want, for people to not sit alone in their secret struggles but to be able to talk about it and let it out into the open and hopefully get the help they need.
SQ: We always want to be open. We always want to be honest and hope that really translates. I think we see people responding to that openness and honesty with openness and honesty. Maybe not necessarily with us, but sometimes with us. We get emails and YouTube comments that would blow your mind, but SQ: I think the one thing that is very true is as it’s like, that’s not just us. Everyone has the ability human beings, the one common denominator is to do that. Singing a song on a stage can have the that we all struggle. We all have pain; we’re all going same impact as a five-minute conversation in a through things.It’s human nature to want to protect coffee shop - you don’t have to be a musician or a ourselves, and shut out those things. If someone was person of influence to have influence. going through a hard time, it’s really easy to not be around, as opposed to running towards the mess. JA: You guys have been working on new music. We always run towards the mess. We want to deal What can you tell me about the new album? with things head on, and I think the more you do KQ: We have been writing for so long, for literally that, the more you realize, like every second person years. We’ve been playing these songs for at least you meet has a kid in rehab, or has a loved one who the last year. These songs are ones that we’ve put has taken their life. I think there is so much strength everything into, and we’re just really excited to share in unifying those people. I think it’s good to relate to them with people. other people, to actually see first hand, that you’re not alone.
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If you still have a pulse, you still have a purpose. Figure out what that is and don’t give up.
JA: Were there any differences in the writing or recording process? KQ: Yes. The writing process was really different this time. Sean does more of the actual music like instrumentation, and I do a lot of the songwriting in terms of lyrics, and then we produce the song together. I think the first album was a lot of Sean creating a song structure and then me writing to it. This album is a lot more collaborative in terms of we’re both a lot more involved. It’s not just two separate pieces. It’s one effort. SQ: You’ll [points to Karli] be driving in the car, an idea will pop into your head, you’ll open the voice note on your phone and record it. Later we’ll turn it into an idea as opposed to me being like ‘here’s this piece of music I made, write something to it.’ KQ: We have a lot more life experience now too. We’re more mature with our music and what we’re doing. The first album came out in 2014, so it’s been a long time. That album was very us-focused like what we were going through at that time. We were fresh out of high school, we weren’t even married yet, and now we’ve toured for three years, we’re meeting a lot more people.
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The song "You Don’t Even Know", it’s a song that we wrote about a girl that we met. It’s all about her story, her life, and I think this album has a lot more of that as opposed to just things that we’re struggling with. We’ve met a lot of people who struggle with things that we want people to know about. We want people to hear it. JA: Overall, what’s the one thing you hope people take away from listening to your music? SQ: I think the biggest thing I want people to take away from our music is that we don’t have all the answers, but we’re just okay with asking questions. I think that’s something a lot of people can relate to. I don’t have all the answers. I’ve learned some stuff, I’m sure you’ve learned some stuff, but the reality is there’s a huge strength in coming together and sharing stories. We just want to start conversations. KQ: For me, what I want people to get out of our music is that if you still have a pulse, you still have a purpose. Figure out what that is and don’t give up. What’s that thing that you love? What’s that thing that you’re passionate about? Use that to change somebody’s life because helping somebody else is helping yourself in return.
Stay up-to-date through Facebook.com/BoldAsLionsOfficial & instagram @boldaslions. Stream The Hope Movement on Spotify. Stay tuned for their new album and catch them live in Fall 2018 when they kick off a Cross-Canada tour.
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MOSTLY EVERYTHING IS TERRIBLE....
STORY & PHOTOS BY GRAEME HOUSSIN 10
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Lo-fi duo charliebaby are carving a swathe in Winnipeg’s music scene with their genuine lyrics, an evolving style and a neon blue recorder.
Whatever your feelings about lo-fi music – or music or people at all – it’s hard not to love charliebaby. When the duo of Charlie Fraser and Kyla Cameron perform, it’s an intimate, stripped-down experience. At a recent performance at The Good Will – Cameron’s first on-stage appearance – the two played a rotating carousel of instruments, from bass guitar to neon blue recorder, while quietly crooning and laughing with one another between songs. Meanwhile, their digital repertoire varies even more. Their most recent album, i am in love but not with myself, is a sombre affair that defies genre. “false security” is a bright, minimalistic track with an acoustic guitar, the duo’s harmonized vocals and nothing else; followed by “i’m lonely. but maybe you didn’t know that?” sounds like it came straight out of a JRPG, with sleepy synths and an unexpected flute solo. Their lyrics are blunt and more often uncertain, but they’re always honest. ‘Mostly everything is
terrible, but you’re not terrible... telling someone how you feel is hard…’ Fraser sings on the final track which was recorded as a voice memo, sent at 5 a.m. Face-to-face, the duo’s dynamic shifts once again. On a Tuesday afternoon at Forth, Fraser, sporting bright yellow hair, drinks a beer while Cameron picks at a muffin and sips hot chocolate. They laugh freely and smile widely, recounting stories from band camp and quoting Vines. “One time someone asked what our musical style was and I told them it was like if Kimya Dawson and Girlpool got together,” said Fraser. “I don’t want [my music] to fall under something specific because I change it so much. I’m like a sponge; taking in new stuff, looking different, doing new things.” charliebaby is a breath of fresh air in the Winnipeg music scene, and not only because of their nosecrets-barred approach to songwriting.
BUT NOT CHARLIEBABY
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As noted by Fraser, Winnipeg’s music scene has an oversaturation of cisgender, white men. The collaboration of Fraser, a gender-nonconforming person, and Cameron, a woman, is almost radical and unfamiliar to the city in and of itself.
Fraser began uploading their music to Bandcamp in January 2017 and performed live as charliebaby for the first time in September of the same year. Cameron didn’t join the project until March 2018.
Before charliebaby, the duo wrote and recorded “There’s so many other artists out there that aren’t tracks under the name Laguna Syrup; “false security” being seen because everyone just books the same was one such product of the pairing. people all of the time,” said Fraser. “It’s not like there’s a lack of musicians. You could definitely look Long before charliebaby or even Laguna Syrup, the for a person of colour or a female or a non-binary two met in high school band class. The first time person. It’s not difficult.” they hung out was in a cabin attic at band camp, hiding from a mandatory performance. Cameron “I feel like [Winnipeg’s music scene] is just a sprinted around in circles to activate her asthma as small group of people and they’re all friends and an excuse, and Fraser faked Cameron a nosebleed connected,” said Cameron, “so they just take each with red lipstick to further nail the elusion home. other and play in each other’s bands...fuck that.” “Two years later we avoided the same performance and got kicked out of band camp,” said Fraser. “We i am in love but not with myself was written before were drinking beer in our cabin, and they caught us. Fraser’s split with their partner and features more Our parents had to get us.” romantic – “if not happy” according to Fraser – themes; a pattern they expect will change in their It’s charliebaby’s informality – seen in their refusal music to come. to label themselves within a genre, their paragraphlong song titles, and their impromptu single releases “I feel like for a long time I was just this other person, on Bandcamp – that makes them the listener’s this face of somebody,” said Fraser. “I feel like I tried new best friend, even if it’s just for a song or two. to avoid [writing about my queerness], or make Their stream-of-consciousness style makes it seem it subtle. But now, exploring different topics, I’m like everything they do is just a little improvised, definitely going to be like, ‘Okay, what is going on? and maybe just a little more authentic than their You weren’t able to sing about this and not feel contemporaries. uncomfortable or feel like you’re not queer enough to sing about this.’”
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I feel like I tried to avoid [writing about my queerness], or make it subtle.
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Stay up-to-date through Facebook.com/charlieisababy and instagram @charlie__ baby. Grab a copy of i am in love but not with myself via charliebaby.Bandcamp.com
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ARTISTS TO WATCH – New Tunes & New Tours
SINCERE ENGINEER
Punk • Chicago, Illinois
Giving us sweet Damone and Distillers vibes is Chicago’s Sincere Engineer. Vocalist, Deanna Belos pulls together traditional punk, ska, folk, garagerock, and emo to create the perfect soundtrack for any pissed-off punk kid in a messy heartbreak. Having just released her debut album Rhombithian in late 2017, Sincere Engineer will be embarking on a tour-heavy year with a slew of festival shows including Midwest PunkFest and sharing the stage with Descendents and Less Than Jake in August, gloriously spreading their angst-fueled punk to the masses. Facebook.com/SincereEngineer • SincereEngineer.Bandcamp.com • @ SincereEngineer
MICHAEL CERA PALIN
Indie/Punk/Emo • Marietta, Georgia
If the humourous band name is any indication, Marietta, Georgia’s indierock group, Michael Cera Palin, offers a sound pumped with self-deprecating humour and the upbeat, rock vibes of the likes of Weezer and Jimmy Eat World. Their new EP, I Don’t Know How To Explain It, is a time-capsule of teen angst and early 2000s emo, bringing instant joy to anyone stuck in a world of nostalgic yearning. They’ll spend the summer on the road across the Eastern United States, and we’re excited to hear more of their brand of energetic, indie-punk in the months to come. Facebook.com/MCPatl • MichaelCeraPalin.Bandcamp.com • @MCP_Emo
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COMPILED BY JANET ADAMANA
We’ve compiled a collection of artists who are bound to make a lot of noise in the new year.
THE SAME AS ALWAYS
Pop-Punk • Oshawa, Ontario
Oshawa pop-punk group, The Same As Always kicks off the season with a strong debut EP, These Four Walls. Melding influences from the likes of their fellow Canadian predecessors, GOB, Sum 41 and Not By Choice, the trio sparks a glorious revival of early 2000s pop-punk that we didn’t even know we needed. Their debut boasts a repertoire of high-energy, catchy gems, with Dylan Beattie’s youthful, sulky vocals stitching together the best elements of gloom-filled millennial pop-punk with the laid-back fun that’s been remarkably missing in the scene over the last decade. Facebook.com/TSAAband • TheSameAsAlways1.Bandcamp.com • @TheSameAsAlways
LUKE RAINSFORD
Acoustic-Emo/Punk • Birmingham, UK
Laying out the biggest of feels is Luke Rainsford’s latest EP, I Don’t Deserve to Be Loved, giving us a fine blend of folk-punk and emo in every aspect right down to its title. Pulling inspiration from Aaron West and the Roaring Twenties and This Wild Life, Rainsford splatters his doleful poetry across catchy acoustic gems. The biggest standout is his ability to bleed his pains into a song, so openly and honestly like an old friend chatting you up about their bad day. Armed with a new sound and new EP, we’re not surprised his year is packed with back-to-back Europe/UK tours, and performing at the popular pop-punk Slam Dunk Festival. Facebook.com/LukeRainsfordMusic • @LRainsford
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DIY DIEHARDS STORY & PHOTO BY CANDACE HOULE CH: Your EP, Headroom, came out last year in March. Has it performed as strongly as you guys thought it would? BH: It certainly has. We worked very hard on preproduction and we worked very hard alongside Tim Tkachyk to capture the sounds.
CH: If given the chance to go to a fancier studio or stay and do more of a homestyle record, what do you lean more towards? BH: Homestyle stuff for sure. You know the opportunities and choices that it offers especially on a budget.
I think it definitely met our expectations as far as the first release. I think we didn’t have too grandiose ideas of what it was going to be but I think it ended up exactly how we hoped it would. I think that was our main goal; just getting some sound like we did in the room on a disc.
CU: All of us come from at least a little bit of background, at least hobbyist recording; and Tim can come and work in a familiar space. It’s a rewarding way to do it. As long as you've got inward momentum you don't need to go somewhere to make something happen. You can do it right where you are.
CH: Where was the EP recorded? BH: We recorded in our living room; between there and our jam space. Tim just basically miked up the whole house and we caught that experience. Guerrilla recording, we’re big fans of that.
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BH: There's no stress of being on the clock. Studios especially, are really expensive. Not only that but doing it that way is fun. That's been the most relaxing way I've ever recorded. I've been to studios before and having that pressure of the clock, it is kind of annoying; that hangs over your head.
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Winnipeg, alt-rock outfit TUSK, knows a thing or two about doing everything yourself. We sat down with Brett Hesford (vocals/guitar), Colton Unruh (guitar), Tyler Hesford (bass), and Eric Jaworski (drums) about their debut EP, Headroom, their future plans and why they prefer the comforts and style of self-recording.
CH: This being your first EP, were there any difficult learning curves? CU: One thing I think we would do differently is that we planned our release date before we finished production. I think it was something like four days before the release show, we actually got the physical. So there was a lot of stress, towards the end getting things done in a certain timeframe. I think for the next one we'll definitely wait until we have the thing in our hands before we commit to a show. CH: It's been a year since Headroom came out. Are you wrapping up this album cycle or are you thinking about still pushing this release? BH: Of course we’re still going to push Headroom, it’s still our only release right now. We are doing preproduction right now for our next work, whatever that may be, maybe a full album. CU: We actually started that in August last year so we've been working on a follow up for some time now; something that's going to be a longer release. It's going to require a lot more pre-production and it's been something we've been working on when we can all get in the same room together. Like Brett said, those songs on Headroom are still very new. I'm not bored of them yet.
TH: We try and make sure that we capture everything that we ever do. Like we record every jam and make sure that we go back to that occasionally and make sure that we're not missing any good ideas. If we find any value in them we typically try and go further and record them. CU: We've always got like a few dozen ideas and projects in the melting pot. Whenever we get a free day, we kind of sift through some and try some things out. It's just a good way to make sure there's no stone that goes unturned as far as song ideas. CH: What are your main influences looking forward to the next release? CU: For me, it's just whatever I've been listening to that week. In the last year I’ve been listening to a lot of James Brown. I don't know if any of that's going to come through. BH: I feel like this one is going to be a touch heavier at moments for sure and a touch wider. CU: Going to be more instruments for sure. I've started using a baritone guitar since Headroom came out and I'd say almost half of what we're doing now is that, so every day everything is getting a lot heavier, a little sludge-er – lots of new pedals coming in.
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It never sounds the same when you're jamming with different people so obviously everybody you jam with will create a unique soundscape.
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EJ: For me, drumming wise, I’ve been listening to a BH: I’ve jammed with a lot of different musicians lot of Shiner, good drummer Tim Dow, The Police, and every time you jam with anybody they kind anything I can get my ears on. of influence each other. It never sounds the same when you're jamming with different people so TH: It's been a big Deftones kick for me lately. Nine obviously everybody you jam with will create a Inch Nails, that kind of stuff. unique soundscape. CH: Are there any local acts that you're looking to just see what they've accomplished and want to follow in their footsteps? CU: Bands like Propaghandi that has been around forever. I see them every chance I get.
CH: What’s a song you’d suggest to someone who has never heard Tusk before? TH: Any of them really, we’ve got 5 out, take the time to listen to them... Actually I would suggest come to a live show, don’t look for one song, come to a live show.
BH: Mobina Galore, ripping hard around Europe and Canada, Ken Mode, people we play with all the time, CH: What’s next for Tusk? like Moon Tan, Silence Kit, so many good bands out CU: We’re working on plugging away on demos. there. I could list bands all day. We've got a show coming up May 26 with Junior Percussion and Rust Owl at the Handsome Daughter. CH: Where do you see Tusk in 10 years? It's looking to be a very fun night to be playing BH: Maybe we're a juggling act? some new tunes. We'll have a special guest playing with us. It's probably one of the last shows for the CU: One thing I've noticed just in the time that we've summer and we're back to working on the album. been a band is we can go extended periods of time without seeing each other and then get into a room BH: Tour plans for fall – heading out east doing the and make music like we were all rehearsing the day whole Toronto, Montreal circuit. before. I think ten years from now there's no reason we couldn't still be making music. CH: What do you think Tusk has that separates you from other similar-sounding bands in the scene right now? TH: We do play with high energy intensity. We generally feel it. Not to say that other bands don’t, but we just bring our own brand of that feeling.
Stay up-to-date through TuskTheBand.com, Facebook.com/RealTusk, and instagram @realtusk. Grab a copy of Headroom at RealTusk.Bandcamp. com or stream via Spotify.
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SPF 6.3 ARTISTS PLAYLIST Snag a listen to the artists featured in Sound, Phrase & Fury 6.3 on Spotify. SoundPhraseFury • SPF 6.3 Artists
SOUNDPHRASEFURY.COM
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LOST IN THE RIGHT DIRECTION From battling depression to breaking away from strict social norms, Matt Talley uses his music to find strength in himself and spark comfort and courage in others. The alt-rock/pop artist takes us through his time writing with his musicial heros and his latest EP, The In Between.
STORY BY JANET ADAMANA
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There are so many In Between spaces in society, but it often feels like if we find ourselves in these places, we find ourselves alone.
JA: Tell me how you got involved in music. You had played in bands before, what made you decide to go solo? MT: I grew up in an extremely strict and stifling religious home. I always loved to sing but when I was 12 or 13 I started teaching myself how to play guitar and it kind of took off from there. I think music was my way of defying the norms that were set for me. I played in tons of bands throughout that time in churches, garages, basements and anywhere I could really afford to get loud. The decision to go solo wasn't necessarily a conscious one at first. Years ago it was just out of necessity to get the songs I'd been writing out of my head and onto a CD. Since then, I was part of a band that was both successful and talented, but felt like it kind of lacked direction and stayed in one lane musically. What they did, they did well. I was just looking for more variety and depth to my music.
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Thrice, Relient K, The Dangerous Summer and Switchfoot. Pretty sure I owned multiple copies of "The Beautiful Letdown" and "Mmhmm" because I played them over and over again in my room as a teenager. As I got older I learned to appreciate the titans like Foo Fighters, U2, Tom Petty - most of whom are still out there crushing it to this day.
JA: Can you take me through the process of making The In Between? MT: Honestly, I had pretty much given up on my own music as it was being written. I know that's kind of a weird thing to say, but every song on the album is a piece to a four year long puzzle where I'd apathetically pick up the guitar, write a part, think "that sounds good" then save it as a voice memo and forget about it. The same with lyrics. I'd say something or think something clever and simply write it down on a piece of paper or as a note in my phone and that was that. As time went on, people JA: Overall, you offer a really moving mix of alt- started encouraging me to get back into doing my rock, pop, and emo. Can you tell me a bit about own thing, so obviously, the first place I started was your musical inspirations? all those notes and memos. What was shocking MT: Yeah, a lot of my music certainly reflects my is how well they all fit together. It took me only a inspirations. I've always loved bands like Anberlin, month or two to put together all the songs that were
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I had pretty much given up on my own music as it was being written.
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comprised of that four year long period where I was JA: The record touches on different aspects of convinced there might not ever be a Matt Talley album feeling lost and out of place – can you talk about again; pretty ironic when you think about it. those moments that influenced the record? MT: I don't keep it a secret that I've always struggled JA: What was it like recording in Nashville? Did any with depression. I think this album makes that of that environment and atmosphere find itself blatantly obvious and my hope is that people that suffer from it can feel like there is some solidarity into the record? MT: My first trip to Nashville was the most surreal there between artist and listener. A lot of the content experience I think I've ever had. I was only there for is taken from being ostracized from a particular group three days to track guitars, but the fact that I got to when you don't fit their standards or treasure the record those guitars with Matt Hoopes from Relient same ideals. We live in a world where everything is K and Stephen Keech from As Cities Burn is still kind polarized. If you're not for us, you're against us. If you of crazy for me to wrap my brain around. I've spent don't agree with everything we say or believe, you're so much time listening to those guys and their bands our enemy. It's part of the reason I went solo. There and here they were helping me craft the guitars on my were dudes in my last band that lived like their way album. They were such a huge resource and influence was the only way. Obviously, that's not the case. Life is when it came to tone and tunings and phrasings that, filled with gray. There are so many In Between spaces when you're writing an album, you simply don't think in society, but it often feels like if we find ourselves in of. Getting their ears and opinions on the album was these places, we find ourselves alone. It's easier to critical to the finished product. Also I ran into Pat be part of tribe and follow blindly. It's easier not to Carney from the Black Keys in a grocery store and we think. It's easier not to wrestle with ideas, and if you talked for like 20 minutes. Where else can something do those things, chances are you end up feeling alone on a lot of issues. But I think the plot twist to all that like that happen? Only in Nashville. is that there are MORE people who find themselves in the in between than we believe. We just have to link arms with each other.
Stay up-to-date through Facebook.com/MattTalleyMusic, and twitter and instagram @MattTalleyMusic. Grab a copy of The In Between through MattTalleyMusic.com or stream via Apple Music, Spotify and Amazon.
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