TEAM Ash Dex Dominic Meason
Andrew Dex
www.stencilmag.co.uk
Metallica have announced as the final headliner for this years Glastonbury Festival. They will headline the Pyramid Stage on Saturday, June 28th.
As I Lay Dying frontman Tim Lambesis has been sentenced to six years in prison after attempting to hire a hit man to kill his wife. Columbus, OH hardcore outfit Beartooth are set to release their highly anticipated debut full length album, 'Disgusting' on June 9th via Red Bull Records.
Joyce Manor have signed to Epitaph Records. Their new record, 'Never Hungover Again' will be released on June 22nd.
Forever Came Calling will release their new album, 'What Matters Most', on September 9th via Pure Noise Records. The lyric video for 'Indebted' can be viewed here. The '2014 Warped Tour Compilation' will be released on June 10th via SideOneDummy Records.
'68, Josh Scogin of The Chariot, have signed to eOne Music/Good Fight Music with plans to release a full length later this year.
New Found Glory have joined Hopeless Records, and will begin recording their new album next month. The Felix Culpa have officially reunited and will be releasing new music this year via No Sleep Records. KING 810 will release their debut EP, 'proem' on June 9th via Roadrunner Records. The Wonder Years, Into It. Over It., The Swellers and more will be contributing to a new No Sleep Records compilation titled 'A Comp For Mom'. You Blew It have announced they will release an EP of Weezer covers this summer titled 'You Blue It'. Topshelf Records will release the EP digitally on July 15th, followed by a vinyl release on August 12.
Coliseum have rejoined Deathwish Inc. Their self-titled album will be reissued with bonus tracks on 19th August.
The line-up for the J채germeister acoustic stage at this years Download Festival has been announced, and includes acts such as Bowling For Soup, Ginger Wildheart, Jamie Lenman, Nick Oliveri, Oxygen Thief, The Answer and more. Anathema Bowling For Soup Brother & Bones Dave McPherson Ducking Punches Enemo-J Fizzy Blood Ginger Wildheart Jamie Lenman Joe Gamm Mia Klose Milk Teeth New City Kings Nick Oliveri Oxygen Thief Richards/Crane Stormbringer The Answer The Mercy House Toby Jepson VerseChorusVerse
Taking Back Sunday have announced they will be returning to the UK in December for a headline tour. December 7th 8th 9th 11th 12th 13th 14th
Portsmouth, Pyramids Bristol, O2 Academy London, Roundhouse Birmingham, Institute Manchester, Ritz Glasgow, O2 ABC Oxford, O2 Academy
Essex DIY skate punks Giants will be celebrating their 5th anniversary as a band this year. To mark the occasional they have announced a birthday show at The Black Heart in London on 17th July. Support comes from Grappler, Drones and Pints. Having recently signed to Prosthetic Records, Anonymous UK hardcore band The Hell have announced their new album will be titled 'Groovehammer' and will be released this summer. London five-piece Morning Parade have a set September 8th release date for their second album - 'Pure Adulterated Joy'. The album will be released through SO Recordings via Kobalt Label Services. Recent Epitaph Records signees This Wild Life have been confirmed to support Aussie pop-rockers Tonight Alive on their UK tour this November. November Mon 24 Wedgewood Rooms Portsmouth Wed 26 Koko London Thu 27 Solus Cardiff Fri 28 Institute Birmingham Sat 29 Academy Manchester (upgraded) Sun 30 Garage Glasgow
The organisers behind the ArcTanGent Festival have announced the final five bands for this years events; Crippled Black Phoenix, Ef, Luo, Karhide and Hark. ArcTanGent takes place at Fernhill Farm, Somerset and will take place from August 28th to 30th. Japanese viral stars Babymetal have confirmed they will follow up their appearance at this years Sonisphere Festival, with a headline show at London’s Electric Ballroom on July 7th. Brooklyn, New York singer-songwriter Kevin Devine has confirmed he will back in the UK and Ireland this summer for a run shows. July Sat 19 Oxford Truck Festival Sun 20 Liverpool Korova Mon 21 Dublin Whelans/Upstairs Tue 22 Galway Roisin Dubh Thu 31 Cardiff Clwb Ifor Bach August Fri 01 Nottingham Bodega Sat 02 Manchester Deaf Institute Sun 03 Glasgow Audio Mon 04 Leeds Brudenell Social Club Tue 05 Kingston All Saints Church Wed 06 Brighton Green Door Store Thu 07 Bristol Louie
Flood of Red will release their new album, 'Throw' on June 30th. Nick Oliveri (Kyuss, Queens of the Stone Age, and Dwarves) has confirmed a 19 date acoustic UK tour in support of his forthcoming album, 'Leave Me Alone'. June Sun 1st Reading, The Bowery District – support from Prosperina Mon 2nd Cardiff, Clwb Ifor Bach – support from Prosperina Tue 3rd Guildford, Boileroom – support from Prosperina Wed 4th Brighton, The Prince Albert Thu 5th Winchester, The Railway Fri 6th Dublin, The Thomas House Sat 7th Birmingham, The Institute Sun 8th Leicester, The Scholar Bar Mon 9th Nottingham, Rock City Tue 10th Sheffield, Greystones Wed 11th Leeds, Brundell Social Club Thu 12th Liverpool, East Village Arts Club Fri 13th Chester, The Live Rooms Sat 14th Milton Keynes, The Craufurd Arm Sun 15th Download Festival Mon 16th York, Duchess Tue 17th Glasgow, Stereo Wed 18th Manchester, The Deaf Institute Thu 19th London, The Black Heart – support from Prosperina Fri 20th Harlow, The Square The release of the new album from Opeth, 'Pale Communion' has been rescheduled for 25th August. The album was previously set for a mid-June release via Roadrunner Records.
The likes of Bleed From Within, The Hype Theory, Monuments and more have been confirmed for Macmillian Fest in Nottingham. The one-day event takes place across three venues on Saturday September 6th. All proceeds from the festival goes towards Macmillan Cancer.
Kids In Glass Houses and The Blackout have been announced as co-headliners for this years Butserfest, which takes place at Queen Elizabeth Park in Petersfield on Saturday September 13th. The Menzingers have announced they will be returning to the UK in October for a headline tour. Support comes from The Smith Street Band and The Holy Mess. October 01 Oct Glasgow Stereo 02 London Electric Ballroom 03 Manchester Gorilla 04 Bristol The Fleece 05 Southampton The Joiners
Pulled Apart By Horses have revealed details of their new album - 'Blood'. It will be released on September 1st on their new label, Best of the Best through Sony/RED.
Lonely The Brave have signed a worldwide deal with Columbia Records. However as a result of the deal, the bands debut album, 'The Day’s War' has been pushed back to September 1st. The album will still be released in the UK through Hassle Records.
Oxygen Thief have announced they will release a new album titled 'The Half-Life of Facts' on 16th June 2014 through Xtra Mile Recordings. The latest additions for this years Sonisphere Festival has been announced. The news sees the likes of HIM, Comeback Kid, Straight Lines, Zico Chain, Sweet Savage and Eureka Machines. Other names announced are October File, The Bots, Black Dogs, Love Zombies, Stormzone Shrine, Rival State, The Wild Lies, The Raven Age and Empire Kill.
Neck Deep have they announced they will be re-releasing their 'Rain In July / A History Of Bad Decisions' via Hopeless Records on June 17th.
State Champs have been confirmed as the final support for New Found Glory's forthcoming 'Pop Punk’s Not Dead' UK tour. As previously announced The Story So Far, Candy Hearts and Only Rivals will also be supporting. November Sat 15 Institute, Birmingham Sun 16 o2 Academy, Newcastle Mon 17 o2 ABC, Glasgow Tue 18 Rock City, Nottingham Thu 20 o2 Academy, Liverpool Fri 21 Academy, Manchester Sat 22 o2 Academy, Leeds Sun 23 Uni, Cardiff Tue 25 o2 Academy, Bristol Wed 26 Pyramids, Portsmouth Fri 28 Forum, London Fri 29 Forum, London
Parkway Drive have announced they will be returning to the UK this winter for a headline tour. Support comes from Heaven Shall Burn, Northlane and Carnifex. December 12 London @ Roundhouse 13 Newcastle @ o2 Academy 14 Glasgow @ Barrowland 15 Nottingham @ Rock City 16 Bristol @ o2 Academy 17 Manchester @ Academy French pop-punks Chunk! No, Captain Chunk! have announced they will release a special deluxe edition of their album, 'Pardon My French', on June 17th via Fearless Records. The re-release will feature three previously unheard tracks and an acoustic version of 'Taking Chances.' Drummer Kyle Profeta of Canadian hardcore band Comeback Kid has announced he is leaving the band after 12 years to pursue other interests.
The Maine have confirmed they will be returning to the UK this October and will be bringing Lydia and Nick Santino as support. October 01 Brighton, Haunt 03 Glasgow, Garage 04 Newcastle, O2 Academy 2 05 Leeds, Cockpit 06 Manchester, Academy 2 07 Birmingham, O2 Academy 2 09 London, Electric Ballroom 10 Bristol, Thekla 11 Nottingham, Rescue Rooms
Natives and Fort Hope have been announced as support for Anberlin's final UK dates. August 06 Glasgow Cathouse 07 Manchester Club Academy 08 London Electric Ballroom Derry, Ireland rockers Making Monsters have revealed their new EP, 'Attention' is set to be released on June 16th through Death By Records. 1. Nosebleed 2. Limits 3. Attention 4. What It’s Worth 5. Tired Eyes
Alcopop! Records have revealed details of their 100th release - a remastered re-release of Len's 1999 “one-hit wonder” 'Steal My Sunshine'. As always the label will be releasing on the unusual formats. This time round they will be releasing limited t-shirts and sunglasses “versions” of the single, as well as on tape and digital download.
Arcade Fire have confirmed a show at London’s Hyde Park on July 3rd as part of the British Summer Time Festival. Support comes from Jake Bugg, Wild Beasts, Future Islands and Band Of Skulls.
Killswitch Engage and Bury Tomorrow have confirmed they will be playing a Download Festival warm-up show together at Portsmouth Wedgewood Rooms on Friday 13th June.
Hildamay have announced they have split up. Up-and-coming alternative rockers Of Allies are set to release their debut EP, 'Tempers' on July 7th. 1. Ghosts 2. Our Decay 3. In Screens 4. In Stasis 5. Play Dead
Out For Tomorrow will follow up the release of their recent debut LP, 'You'll Find A Way' with a run of headline shows next month. June 20th Hell Fire Club, Redhill 21st The Shed, Leicester 22nd The Compass, Chester* 27th Waterfront Studio, Norwich* 28th The Vault, Rugby 29th Retro Bar, Manchester* * - support from My Favourite Runner Up Luxembourg punk quartet Versus You have joined Bomber Music who will release their fourth album, 'Moving On' on 21st July.
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Interview with Jack
Interview with Nathan
Interview with Gianluca
Interview with Nicholas Can you tell us about the formation of Adelphia? The band started off when Rik and myself met online. I knew Jordan from college who auditioned around summer. Jay then joined the band later on in December 2012.
How did you get to the name Adelphia and what does it mean to you guys? We wanted a name which resembled us a band. Adelphia means "brotherhood" in Greek and this band is like a family of brothers.
You recently got to perform at Hit The Deck festival, so what was that like for you guys, and what do you think you learnt from taking on such a big festival? Playing main stage Hit the Deck was awesome, a memory we will always treasure. Opening up for a band such as Brand New was an incredible honour. Playing that stage gave us a taste of what we could have in the future, which has driven us as a band to want it more and to push ourselves. The experience all together was amazing.
What can you tell us about your latest release Fingers Burnt and Lessons Learnt? Our debut EP lingers around the theme of revenge, which reflected to how my emotions were at the time. The material is something we are proud of to represent our sound and we've had so much good feedback about it. We worked really hard for the EP to be the best it can be.
So what has this whole Red Bull Bedroom Jam opportunity been like for you guys, and how excited are you to be performing at Download Festival? The Red Bull Studios Live at Download experience has made us stronger as a band. It opened our eyes to show that we can achieve our dreams if we put our minds to it. I think the whole band can agree that the confirmation of playing Download hasn't sunk in yet. We are excited to get on that stage and give it our all!
What else can we expect to see from Adelphia in 2014? We have a new single which is out in the near future and are really excited about releasing it after working with Matt O'Grady hard in the studio. Keep your eyes peeled and your ears open!
Interview with Dan Can you tell us about the formation of 'Create To Inspire'? All five members were in two different local bands playing the local circuit regularly, they had met in passing at shows and once both bands had eventually retired, Sean, Luke, Jack & Connor decided to start something new & fresh with one aim; write great music that will inspire people and lift them up when they're down. I saw the lads were looking for a bassist, having been in a band with Sean in the past I knew him quite well & BEGGED him for an audition once I'd heard 'Shatter/Rebuild' - And here we are today.
Can you tell us about your latest release/material, as well as what readers can expect from it? Currently we have two singles out, 'Shatter/Rebuild' and 'In Light' which you can find on YouTube. Earlier this year we finally finished writing & recording our debut 5-Track E.P, 'Halfway Home', which will be out very, very soon. You can expect anthemic, heavy yet catchy tracks glowing with positive lyrics and feel good vibes. We really can't wait to show everyone what we've been working on.
Touring wise, what have you guys been up to this year, and also what gigs have really stood out to you? Unfortunately we haven't toured as such just yet as we only really started playing shows a few months ago, but in that time we've played shows with Martyr Defiled, Sworn In, Malevolence and so many other awesome acts. Being at the stage where we're being offered shows up & down the country is so humbling, this is what it's all about for us.
So what has this whole Red Bull Bedroom Jam opportunity been like for you guys? It has been an emotional rollercoaster and quite frankly the hardest week of our lives, but the pay off has been incredible. We've gained so many new fans and the support from friends, family, fans and even the other bands have shown us so much support, it's unreal. It's proven to us that what this band stands for really is achievable. Never give up, your dreams are in your reach, you just need that little push to get your hands on it.
What else can we expect to see from 'Create To Inspire' in 2014? Honestly right now we don't know, which is what we really do love about this incredible journey we're on - We just keep working hard and don't expect anything, and when these opportunities arise we take them by the reigns and appreciate every second of them. We're hoping for a successful E.P release, a couple of tours later in the year if we're lucky and of course, as many shows as we can possibly play. Keep your eyes set on us guys, we plan on being around for a long, long time.
Interview with Bello
Interview with Simon
Interview with Brad, Kehn, Kyle and Joe
Interview with Kevin
So how did you end up signing to Epitaph, and what have they been like to work with so far? Epitaph contacted us while we were in the studio recording "Clouded" this last August. Brett had seen one of our videos on YouTube and really enjoyed what he heard. We met up with him once we were back in California and loved his musicians approach to business. Sometimes you have to sacrifice creative control to land a deal, but Brett was adamant about keeping our vision pure and just supporting us in our direction. We are a very DIY band, and nobody understands this kind of approach better than Brett and the people at Epitaph. Everyone that works there is passionate and excited about the band, we've really enjoyed their support.
Can you tell us a bit about how you first found your sound as This Wild Life, as you guys went from a full band set up to an acoustic duo right? The first acoustic song we ever did was actually a stripped down version of a full band song called "So Much Potential" that was on our first EP "Pop Shove It". We threw the video up online and got really great feedback of how my voice sat with the acoustic guitar. After that, we did a couple covers, wrote some more acoustic songs and found that there was something really special about the writing dynamic between Anthony and I. We eventually gravitated towards that side of the band and decided to pursue it full time about a year ago.
Also as a duo, can you tell us about how the writing process normally works with you guys? Anthony and I match really well together in songwriting. I'm not that great with a jumping off point with a song, but Anthony writes tons of riffs. My strong point is more in structuring and vocals, so in a way we compliment each others weakness.
How did your first UK tour go, and can you give us a couple of personal highlights from your time on the road here? It went so much better than we expected. It was our first time over there, unsigned, no full length out, and headlining. We were really nervous about turnouts and crowd reaction, but thankfully we had a great crowd every night peaking with our sold out show in London. We didn't get to do much sight seeing, but we loved the country and are looking forward to coming back later this year.
How did you get to the album title 'Clouded' and what does it mean to you? I actually came up with the title as we were traveling in the UK this January. I was listening to the record with my headphones trying to figure out the track order, and I realized that there were songs on the record about the exact same thing, yet they had completely conflicting perspectives. We wrote the record over the last year and I noticed that I couldn't make up my mind on certain things in my life, and it felt like the songs were lyrically wrestling with each other. I guess my interpretation of it is that my mind has been clouded for quite some time now, I'm trying to sort it out and writing songs definitely helps that goal.
Can you tell us about the main themes and influences that run throughout 'Clouded'? I've always written from personal experience. We play these songs hundreds of times a year so I make it a point to be sincere in my lyric writing. Could you imagine singing a song every night, having people sing along, and connect emotionally to a song if it was completely fabricated? I couldn't live with myself if people were telling me how much a song has helped them if it wasn't coming from an honest place. Most of my songs are about my relationships in life, be it girlfriends, friends, or family.
What was the hardest part about putting 'Clouded' together for you guys, and why? We were in a very transitional period when we wrote and recorded the record, we had only written six acoustic songs prior to this album. It was also our first time recording with a producer that was involved creatively.
How did you end up working with Aaron Marsh, and what was he like to work with? I had heard he was producing bands in Florida, and being a Copeland fan I thought he would be the perfect person to help us color and create moods on the songs we were writing. He's a very creative and talented musician, he played some keys and piano on the record and arranged full string orchestrations that came out beautiful. We wrote all the songs prior to heading out to Florida, but once we got there the songs really started to take on a new life.
We read that you experimented with pianos, and different kinds of guitar whilst putting together the record, so can you tell us a bit about this as well as how it contributed to the way you wanted the album to sound? We really wanted the record to pull from a number of different musical palettes if that makes sense. If the entire record was just two acoustic guitars and vocals I think it would get a bit monotonous. We played a variety of steel string acoustic guitars, nylon string guitars, electric guitars, and electric bass to create the sounds on the record. We also used piano, melotron, bells, drums, strings, and different percussion to round out the sound and keep the record moving sonically. I couldn't be happier with all the arrangements.
What else can we expect to see from This Wild Life in 2014? Tons of touring and a lot more video content to accompany the record. Very excited.
THIS WILD LIFE
Interview with Chris
People thought that you went on a hiatus but you really didn’t did you... We never announced or even hinted at being on any sort of hiatus. I believe people started throwing the word hiatus around because we didn't post anything on Facebook or Twitter for awhile. We even saw online "news sites" post that we were recording one more record and then breaking up. It's amazing how people come up with this shit. We were actually at home working jobs while writing songs and recording demos. After that, we went and recorded the record. Quite the opposite of a hiatus really!
How did you get to the album title 'Oh, Common Life' and what does it mean to you guys? I wouldn't say anything we do has a real literal translation or meaning, but to us, I guess it means we're getting older and real life is starting to get in the way.
Can you tell us about the main themes and influences that run throughout 'Oh, Common Life'? We're influenced by the things that really make us feel something. It's not necessarily a specific record or a book anymore. It can be a line in a movie or a walk late at night in the Summer. Overall the record ended up feeling pretty sad, but I'm pretty sure that means we did a good job.
What can you tell us about the recording process for this record? We recorded the record in Baltimore, Maryland with Brian McTernan. We did "Gospel" with Brian and it really just worked. It felt like he gave a piece of himself to that record, and we knew that his commitment and excitement couldn't be matched, so going back to him for "Oh, Common Life" wasn't really much of a decision. Brian has become more than a guy who records our records, I've learned more from him than I have most teachers and mentors in my life, and that doesn't even touch what he's taught me about songwriting.
What would you say was the hardest part about putting 'Oh, Common Life' together for you guys, and why? I'd say the hardest part was drawing the line and deciding which songs would make the record. We came to the studio with the meat of about 18 songs, and had already agreed we'd narrow it down to 11, and that was it. We didn't want to worry about b-sides or anything, just wanted to focus on the record. Once pre-production started, the decisions became easier and more clear cut, just had a lot to work through.
How would you say your sound as Fireworks has progressed overall since you first started out? I sometimes think of it as two different bands. I feel that before "Gospel", we were really trying to just write catchy songs that people would like and sing along to. The excitement of just being in a band, touring and meeting all these people kind of took precedent over what really mattered. We grew a lot as people in the year or two before "Gospel", and started realizing what really felt right for us in terms of songwriting and the overall vibe for our band. I feel like that growth has only continued from "Gospel" to "Oh, Common Life".
The artwork for 'Oh, Common Life' is really cool, can you tell us about how it came together, as well as what it means to you? Our friend Michael Burdick did the artwork for Gospel and Oh, Common Life. We grew up with Mike and both silently respected each others crafts and the hard work we put into them. Mike wasn't someone who really did band artwork or fully understood the scene we were a part of, which made us real excited to work with him. We gave him the record and sent him the lyrics along with it. While listening and reading lines here and there he really just sketched out what he heard and felt, and I think that's what makes the artwork so special to the releases. It really gives them a face.
Looking back on Gospel how do you guys feel about this record now, and what do you think it has done for the 'status' and representation of Fireworks? I think we could all agree that we still love the record. It really gave our band new life, and that record will always feel that way for me. Sonically there are a few things I'd do differently, but I have to respect them for making the record what it is. When I hear songs off of it I can remember the exact way I felt when we were writing them. It will always be nostalgic to me, and I feel it should be. As far as status goes, I'm not sure, I try not to keep up. I think there's a group of people who wishes we would have re-recorded "Detroit" and put it on there three times, and then there's everybody else, and they just seem to get it.
You guys have toured the UK a handful of times now, so can you give us a couple of personal highlights from your time on the road here? I want to preface this by saying I am being totally honest when I say that the UK is a very special place for our band. It is hands down one of our favorite places to tour and we really don't play there enough. I don't think we can talk about the UK without mentioning the time Tymm got arrested an hour before we were supposed to play our first headlining show in London. We scraped together Rich from All Or Nothing, Matt from The Wonder Years, Robbie from This Time Next Year and our driver Tamps to fill in. It was overall a disaster, but made it that much more memorable.
Interview
How is your current tour going with All Time Low, and can you give us a couple of personal highlights from your time on the road? We've been playing to huge crowds every night, which is something we aren't very used to. Playing in our hometowns and being able to look out and see all of those people was a true high point for us.
What made you want to release 'Heart vs. Head' first and how happy have you been with the response to this track so far? We feel like it shows a fair amount of growth while still showcasing the classic "Handguns" sound. We were overwhelmed with the response. People were saying it was a big step up for us which really got me excited.
So how did you get to the album title 'Life Lessons' and what does it mean to you guys? Each song on the record is about something different, so the record is a collection of lessons learned since the release of Angst. We felt like the past year was a test for Handguns and we wanted to document it for everyone to see.
Also, can you tell us a bit about the main themes and influences that run throughout 'Life Lessons'? It's about the strain on relationships during non stop touring, the loss of loved ones, and the constant grind that we've all been on since this line-up of the band formed almost two years ago. We wanted it to be dynamic and honest.
w with Brandon
How did you end up working with Paul Leavitt and what was he like to work with? Our label recommended him. He's worked with some of our favorite bands and he was an absolute pleasure to work with. I feel like we gained a friend while making the record and I know he worked hard to make it sound awesome. He pushed us hard and made us better musicians.
You also got to work with Alex Gaskarth, so how did this collaboration come about, and what was he like to work with? Paul recommended him to us. He said he could get him in the studio to help us with vocal production. Alex managed to make cool melodies into amazing ones. He gave the record the extra push it needed and I'm forever grateful to him.
Also, looking back on 'Angst' how happy are you with this record, and what do you think it has done for the 'status' and representation of Handguns? We try not to concern ourselves with our "standing" or "status" amongst people. This is the best representation of Handguns that we could make and as long as people get to hear it, I'm happy.
The artwork for 'Life Lessons' is really cool! Can you tell us how it came together, as well as a bit about what it means to you? The concept came to me in the studio while I was on a walk one morning. I thought the idea of tearing down the scene depicted in the Angst artwork would be a cool way of conveying the way we’re feeling about the release of this record. We felt like we were at a point where we wanted to leave all preconceived notions about Handguns behind but we had to prove ourselves first. That's what this record is here for.
Interview with Kevin
A lot of American bands tend to offer the British fans up as among the best, is it an atmosphere thing compared to at home? You could get great crowds in America but the energy level isn’t there for every song, you can tell that the UK fans listen to the whole album, they don't just listen to the hit songs or the song they saw on TV you know? That might be how they heard about us but then when they bought the album they really dug it and further more the albums beyond the hit albums. You can play just about any song from our catalogue and the UK fans will get excited about it, it’s awesome!
Do you have any stand out memories from previous trips to the UK? Yeah, I remember we played at the Garage (Glasgow) it was sold out and that crowd was absolutely bonkers! They kept getting up on the stage and stage diving, the microphone hit the guitar player right in the lip, he didn’t care, he had a bloody lip but he knew it is what it is. It was years ago but I can still close my eyes and I'm there. It's a smaller place but I remember going outside and there was a ton of fans waiting outside to meet us and we always try to make ourselves available to meet people to shake hands and thank them for coming out.
It is nearly two years since the last record, is a new album on the horizon? We have been kind of dealing with some business stuff in the band as of late, nothing crazy, we're fine but we are just getting together and figuring out what our next plan is. The only plan we could have is to make another album, we all have different things going on. I'm a photographer, I play in Lynch Mob as well as of October. I've known George since I was little kid so that’s awesome, Jeremy has a restaurant. I would like to do a new album. We wrote View From The Bottom with various friends involved and that may happen again but I want the next one to be predominately written by the four of us and see what else happens. That's just my thought, there's four individuals, we're all older now, I'm 42 so everyone has their own idea on how things should go.
'A Place in the Sun' was a huge success for the band, how much did your lives change at this time? It's still changing my life. I still live in my house, I still buy food and pay the bills from that album. That album put us on the map and the songs got licensed to different things. We're very, very blessed and we know it and don't take for granted what Lit has done for us, more importantly what A Place In The Sun did for us. We were so fortunate to have one of those albums that just connected with a ton of people around the world. There are a lot of bands who might be more successful than us but do they have that one album that really is a signature album in someone’s collection? Maybe not and I'm just comparing it for it is, I'm not saying because we have that we're better than anybody. I'm just saying we're very fortunate to have that one album that is probably in a lot of peoples collection and we're very blessed to have that.
Given the length of time between the previous album and View from the Bottom was there ever a time where you thought it would never happen? Yeah there was. For those that don't know, after the self titled album Jeremy had a year and a half of work to open his restaurant so we were in a kind of holding pattern. I went on to play in other bands and everyone ventured off to air themselves out a little bit then in 2006 I think, or just before Jeremy opened his restaurant, but his mum and step-dad got in a motorcycle accident. His step-dad was killed and his mum was severely injured and lost her leg so that really stopped life, it stopped the whole band in their tracks. Of course it affected A.Jay too because they're brothers. Then when in 2008 Allen (original drummer) had a brain tumour and he lasted a year and three months before he passed away that time period was just thing after thing after thing so we couldn't focus on the band, as we had to focus on family. Then with Allen we had to make a decision and we thought, if Allen was standing here right now and he couldn't play drums he would give us his blessing to go on playing rock n roll. The way we see it also is that Allen was a big part of those songs that everybody loved, so we're just carrying on his name and his legacy. Nathan Walker who is now our drummer knew Allen, as he used to play Golf with him. They used to show each other drum techniques so it made a lot of sense that the throne went to Nate Walker. To me, there was only a handful of people that could have got it and Nate was the perfect fit because we knew him, got along with him, and he also knew/respected Allen, which was very important to us.
That album was Nathan's first work with the band, given that he knew Alan and his techniques so well then does this help make the album easier/flow better? That's a great question and the way I'll answer that is that Nathan is a great drummer and very different from Allen, but something that is great about Nathan and I've talked to him at length about is that he grew up on Lit. Before he knew us he listened to us, saw us live, he gets the music and one thing about drumming for Lit is that you don't really over play it. We're not Blink 182 and Travis Barker works great for Blink 182 but Nathan knew what Lit was all about and Allen played a vital part in that his type of drumming worked with our song writing. Nathan knew to keep it in that vein of playing. Good fills and good beats but not over playing, our songs aren't super complicated and that's kind of the beauty of the songs. I played some of our songs with really good drummers but they couldn't play it like Allen did and it loses its feel. To answer the question, Nathan, thankfully got that about Lit and stuck to it. To this day when we're writing new music or playing something, he sticks to that thought process and keeps it 'Allenesque'.
The album was very well received by fans and some critics, however some critics weren't so receptive but how do you feel looking back on the album now? We love it! It is sort of different but to be expected from Lit. Anyone who knows our background knows we were brought up on metal, we grew up on Van Halen, Iron Maiden, Judas Priest, all the British metal etc. I know we're not a metal band, we're a hard rock/pop rock band. Back in the 80's it was easy to know, they're metal, they're hard rock or they're pop, there are so many sub-genres now that I don't even know what the hell we are! I love everything from Lamb of God to Iron Maiden to Elvis Costello to Chet Baker to very light bands, Norah Jones, everything! I'm not very close minded and everyone in the band is that way and you as a person nowadays are probably that way too. How can you escape it if you think it’s good music? I don't categorise myself as a heavy metaller, when I was in high school I was but anyway. We knew we weren't going to start a new trend, we just let the writing be the writing. It’s like building a tree fort, you put down the next board and when it’s done you step back and think “hey that looks like a cool tree fort” so that's how we kind of look at our songs and there were songs written in those sessions that never made the album. We'd step back and say “that's a cool song but it’s not really good for this batch”. We would batch the songs that kind of made sense together and that's how we collectively came up with View From The Bottom with the songs that made the most sense and we were very proud of it. We know we can get away playing a lot of songs from that album where as typically you'd play two or three songs from a new album, but in a headline set we'll play five or six. Right now we've been going back to old songs that were never really played to have fun with it and have people go on line and say “you're not going to believe what they played tonight?!” that's cool to be able to do.
It has been a relationship lasting 25 or so years between Jeremy, A.Jay and yourself, how would you describe your time together? We just did a show at House of Blues in Anaheim and in the weeks leading up to the show we were putting a set list together because we're not just playing A Place In The Sun, we finish the show with a handful of other songs that spans our career whilst also playing some of those songs we haven't played in 15 years, it only took a few minutes for the chemistry to get re-boiled. It was like spraying WD40 on to a chain, then it got loosened up and it felt like we'd just played them last week or something. We have a really cool chemistry, we know what our strengths and weaknesses are with each other so when selecting certain music or a cover song to play or whatever, we know when to say yes or no. We're not all Steve Vais or Billy Sheehans you know but we are what we are, and we are special for what we are.
Interview with Stacy
What made you want to go on a hiatus, and what did you all get up to in that time? We were burnt out from touring. We were playing 250+ shows a year and needed a break. I built a studio in LA and started producing and writing for other artists. (Meg and Dia, Plain White T's, Towers of London, Low vs Diamond, The Downtown Fiction, Ingrid Michaelson to name a few). Then I got the call to be the Musical Director for then 13 year old Miley Cyrus. I went to meet her in NYC. I heard her sing, she started busting my balls immediately and I knew she was the real deal! I brought Jamie from Hi-Fi in to play guitar and we have been doing that ever since.
What was it like to get back together again, and start recording, did the time just naturally feel right for you guys? When we got back together it was like riding a bike. It felt totally comfortable and natural, but without all of the bullshit and pressure that comes with trying to write a "hit". We were able to jam and record music with only ourselves to please, which is a terrific space to be creative in.
So, how is the new album ‘Blood and Lemonade’ coming along, and what can fans expect from it? The new album is done and it is a return to straightforward guitar rock. We ripped off the Foo Fighters at every possible turn.
What made you want to release 'Killing Time' & 'Wake Up' from your upcoming album, and how happy have you been with the response to these tracks so far? We loved the idea of being able to put music up and get instant feedback from listeners. It's really cool to post a song after so many years off the radar as a band and see what people think. We have received amazing feedback so far and it is one of the reasons that we are pushing forward now. We've heard from quite a few people that they are happy to hear a big guitar band again. There aren't as many of us as there used to be!
What's been the hardest part about putting together this album for you, and why? The hardest part of making this record was logistically getting all of us together. Jamie and I are busy with Miley, and I have also been playing drums for Matchbox Twenty for the last couple of years. Drew lives in Boston and owns a restaurant there with his wife, and Brian lives in Madison, Wisconsin and is busy with a family.
How would you say you have grown/progressed as a band since you first started out? I think we have gotten really good at having a sort of telepathic connection. We all know what each other is going to play/think without having to verbalize it. It makes it much easier and quicker when we are working on new music.
So how happy have you been with the response to your latest album 'Fight the Frequency' and also what songs are you enjoying performing live the most of the record? Fight the Frequency is an album that very few people know exist. It was an absolute disaster in terms of promotion. We thought we could do a lot of things ourselves and quickly realized we could not! We hired people to promote the record at radio, record stores, online etc, but if you don't keep an eye on those folks that you hired every day, they tend to take your money and jet off to Mexico! Once we concluded that it was going to be a nightmare, we bailed on the whole thing. Because we all have other things going on and are not focussed on Hi-Fi exclusively, it is paramount to have a great team (label,management,PR,agent) in place!
It's hard to believe that it's been over ten years since your career kick started with the release of your self-titled album, so what can you remember from that time, and what do you think that album has done for the 'status' and representation of American Hi-Fi? Way to make me feel really old! Just kidding. ;) That was a great time for us! We started American Hi-Fi for fun, and when things started to take off it was an amazing ride! One of my favorite memories of that time was playing the Reading Festival. We were in a side tent and Queens of the Stone Age were on the main stage at the same time. We thought we were fucked! As our tour manger walked us to the stage, we saw a giant crowd pouring out of a tent and blanketing the hillside. I asked who was playing there and he said "You guys are! That's your crowd!" We were completely blown away by the reception and I still get goosebumps when I think about it today!
Can you give us a couple of personal highlights from your time on the road here in the UK? The UK has always been one of our favorite places to tour. We love the beer, the people...I lived in London as a kid (I went to ASL for 6 years) so it has always felt like home to a degree. The Cockpit in Leeds is always a stand out gig!
What does the rest of 2014 have in store for American Hi-Fi? I'm not sure what 2014 will bring for us. We are just dipping our toes in again. We hope to come back to the UK and hit more cities...Playing Reading and Leeds again would really be incredible! Let's hope the folks that book those festivals read this!
Interview with Davey
How did you end up signing to 'Pure Noise Records' and what have they been like to work with so far? I met Jake Round (founder and owner) a few years back and really became his friend on the Warped Tour of 2012. I love the way Jake approaches music business, as he still loves punk rock and remembered why he started a label. We ended up co-releasing "The Few and the Far Between" on vinyl with Pure Noise and Artery and the vinyl release went real well and Jake is a man of his word. So it came time for a potential new label and new start for the band, Pure Noise was the first thing on all our minds and apparently the same with Jake. Win, win.
How did you get to the album title 'VOID' and what does it mean to you guys? Life to me at twenty nine has been a constant search for things to fill the gaps and holes that life has left me. We choose whether these filler pieces are positive or negative. For better or worse, VOID is about the ways I've/we've filled up our empty spaces. Every one has voids, it's our hope that music, Vanna, whomever, helps fill those empty spots, even if for a few hours on a Friday night.
Can you tell us about the main themes and influences that run throughout 'VOID'? VOID is the theme. Each song chronicles events, people, and moments that in one way or another have filled my life and made those gaps in living feel so deep. There's a good amount of "call to arms" so to speak in this album as well. Our generation is one of change, large and small, but if we don't all try and fill the worlds voids, then we as a people won't really leave a mark on this earth. I'm not saying fly somewhere and save villages, but at the same time, I am. If you yourself feel like you are incomplete but yet have so much, imagine how those who may have nothing feel. And those people that may have nothing, they might actually be people you know. It's so important to be aware of not only the world, but your surroundings, stand up, make a difference, and count.
How did you end up working with Will Putney, and what was he like to work with? Will has done some of the best recordings in the last few years. When it came time with us and Pure Noise to figure out a producer, Will's name was number one across the board with everyone. We started on jamming our new demos with him and he was like a 6th member. He didn't care about egos or who's who, instead he helped us write better songs for the sake of the music, not for any one persons benefit. It ruled. He heard things that none of us could hear and helped make changes that afterwards all of us were always like "fuck yeh man, of course we should do that." It is so cool to have fresh ears and have someone your side to bring out the best in you.
What else can you tell us about the writing and recording process for 'VOID'? I've once again seemed to hit this weird pinnacle point in my life that is being defined by positive and negative people and surroundings. This past year has been a trying and freeing period of my life. Personally, the roller coaster hasn't stopped and neither has my writing. On a band level, we faced a lot of times this year when we were questioning a lot. Are we making an impact? Does any of this matter? And that's okay to be unsure, because we have those moments followed up by amazing shows, unreal tours, meeting the best people every night. It reminds us that although doubt is inevitable, so is strength. We truly believe in this band and the people that support it.
What was the hardest part about putting together 'VOID' for you guys, and why? When it came to writing, we didn't have the luxury of a lot of time like we've had in the past. As we started putting down demo tracks I quickly realized that for as much as I was writing my words down on paper, these dudes were slamming their personal struggles right into instruments. This record has become one of the most personal we've ever written. So what should have been this hard struggle against the clock actually turned out to be an overflowing of material that then had to be sifted. That ended up being a challenge, but, survival of the fittest (song) prevailed haha.
Can you tell us a bit about how the artwork came together? We always try and showcase talent from our peers and surroundings. Nick, our guitar player went to school for graphic art, in fact that's where he met the dudes and Vanna was born. As we tour more, personal passions sometimes take a back seat, and Nick is so talented, making a great deal of our merch, that it almost seemed wrong for him to NOT do the album artwork this time. Who would know better how to portray the record in art, but a dude making it you know?! The art reflects the feeling of voids let into our life, being positive or negative filler, that's the constant struggle. Nick would ask what each song was about and really dig into finding art and photos that really resonated with those feelings. He killed that shit, I'm so proud of him.
How would you say you have progressed as a band since you first started? Holy flash back! I joined Vanna 5 years ago. Through it all, the people sticking firm and standing by each other's side, with some not being able to continue with the journey and at the same time gaining new life and brothers along the way. This band has come so far not only musically and professionally but in our personal lives as well. We've all become who we are together and so much of it has been a direct result of each other and this band, this life that we are building here. That being said, I'm still angry, still sad, still happy, horny, confused, excited and tired. That won't change. That's life, but I couldn't imagine the past 5 years without these dudes in it.
Also, how would you say the post-hardcore 'scene' has changed since you guys first started out? Us old guys have a saying "when I started going to shows" and the rambling and complaining. And you can catch us doing that a little. But times change, and people change. Adapt or die. You can be upset all you want that cell phones are everywhere and we live in the generation of now, I need to hear it, see it, touch it and know it all now. It won't change the fact that we are where we are. We now just try to punish eyes and ears all over any platform we can, music is still the same. It's still passionate and meaningful, it's just the way we present it and receive it that has changed and that's okay. There's more ways to see and hear music now, more platforms for bands and artists to showcase themselves, so take advantage of the amazing tools in front of you. All this being said, I urge you, go to a show, shut of your digital world and truly lose yourself with the band and crowd. You need that break, you've earned that release. Be free.
Interview with Adam and Tomohiro
Who is answering the questions? It's Adam. The white one. Amongst my many talents, speaking English like a pro is perhaps the one I'm most proud of. Don't get me wrong, it took me a while to get this good, but I think I'm just about there now and I can usually get through most sentences without making the odd faux pas. Oh wait, that's French. And Tomohiro too. He just came round to play FIFA partway through....so we'll put FIFA on the backburner and do this together....
How did your recent tour go with Memphis May Fire, and can you give us a couple of personal highlights from your time on the road? It was great. I mean, personally it was awesome to be back in England because it's where I'm from and I get to see heaps of friends...but it was also great because the shows were packed each night and we seemed to get a really decent reception. Personal highlights? I'd say Nando's in Plymouth and Gregg's just outside Oldham. Oh, non food-related highlights? Well Plymouth was awesome (not just because of Nando's), we played there last year with Your Demise, and this time the place just went off...it felt almost like a hardcore show that I might have gone to when I was a kid. Almost.
Can you tell us about how the writing process normally works for 'FACT'? Most recently the general way things have worked is that Kazuki and Takahiro have come up with the basic riffs and structures, and then we all work on fine-tuning the music together. We usually add vocals later, but that depends on the song....so Hiro and myself (Adam) work on lyrics and melodies and then the other guys get involved and we go from there. It's a group effort.
So, how did you get to the album title 'Witness' and what does it mean to you? Interesting question. The title comes from the track of the same name....that particular track was a track that we all wrote together one day during the song writing process, and I think it was the track that just came together in the most organic way really. I like to think of the title as a verb rather than a noun to be honest....like we're telling people to "witness" what we're doing on the record. But yeah, it came from the track "witness" really, and that's a track about people who just like to sit around and watch and not affect any kind of positive change in regards to what is occurring around them.
Can you tell us about the main themes and influences that run throughout 'Witness'? Well, in all honesty, there isn't a single theme that runs like a thread throughout the album. I think there's this weird idea that albums these days all have to have some particular theme...and I'm not sure I'm all down with that. I'd rather listen to a great collection of songs I think. I mean, we could lie and pretend that it's all part of some grand plan, but I don't know if that's necessary. If the songs stand up as songs in themselves, then that's kind of the most important thing to me.
What was the hardest part about putting together 'Witness' for you, and why? Probably the actual songwriting...we started off with two songs that we definitely wanted to put on the record, and we wanted to branch out from there, but the theory and practice are always different things. So yeah, I think the fact that we had relatively limited time was a major "difficulty". We had a direction we wanted to go in, it was just that we were busy with touring etc....so yeah, that's it, time management was the hardest thing.
How would you say your sound as FACT has progressed since you first started out? It's really, really different now! I think if you've followed the band throughout our career then you can see how things have gradually changed, but if you listen to a song from the early 2000’s and then listen to something from "Witness" then you might think it was a different band. We used to be all about fast, technical songs, possibly because we were younger and there's that "let's go as fast and as wild as possible" school of thought...but I guess as we got older we realised the value of a great chorus, and we started to concentrate on just making songs that people want to listen to again and again, sing along to etc....
How did you end up working with Michael ‘Elvis’ Baskette, and what was he like to work with? We've worked with him on every album since we signed with Avex, so of course this time we wanted to do the same. We started out wanting to work with him because he's worked with so many awesome bands...Incubus and so on....and then after working with him the first time, it was like "well, why would we want to work with anyone else?!"...he's the one of the best dudes you could ever meet. I want to move to America and live in his cellar. Is that weird?
Also, this is your first album as a six piece, so can you tell us a bit about what that's been like for you? I think as we've gained an extra member the things we're able to do has increased (this is Adam writing what Tomohiro is saying, I'm not blowing my own trumpet!!), the quality of the live show has increased too, but just quite simply the fact that we've added another voice into the mix has changed things. The way Adam thinks about music and the way the rest of the members think about it is slightly different because we're from different countries with different backgrounds, so adding those ways of thinking together has really enabled us to make something fresh and new.
For a band that have toured the UK before, then can you give us a couple of your main personal highlights from being on the road here? The highlight is quite simply being able to play our music overseas and to new people really....that there are people in England and in America and in Germany or wherever that are interested in our band is awesome, it's a really humbling thing. So the very fact we're able to play overseas is the highlight for us. Oh yeah, that and The Angel Of The North.
Your records are known for doing really well in the Japanese charts, so how rewarding is that for you guys, and can you tell us a bit about the alternative music scene in your home country?! Of course we're really happy when we make the charts. It's not our main goal, but the last three albums have gone Top 10 in Japan, which is massive. In Japan the major label deathgrip on the charts stifles new bands coming though. Basically all you get in the charts here is the boyband/girlband utter crap pumped out by major labels...they rig things here though. So for example there's a famous girl group that has a shitload of members, and you can "vote" for your favorite ones to be the "main" members so they always go on TV and stuff (the minor members just stay at home or something, I dunno). Anyway, to "vote" you need a voting ticket which is inside a CD single/album. You can vote as many times as you want, but only one vote per card, so these oddbods end up buying multiple copies so they can vote for their favourite girl to be on TV. And then there's the "handshake meetings" where you can meet your favourite member and shake their hand....so long as you have a ticket. And guess what, the tickets come with the CDs, one handshake per ticket. So yeah, I mean, it's just a great steaming pile of corrupt shit....but people go along with it and buy these "bands'" CDs blindly....so for a band like us to make it into the charts is 1) a miracle and 2) really something refreshing, so we're happy that we're able to do that and maybe show a different kind of music to the idiots that buy the manufactured pop crap. It'd be OK if these manufactured bands had good songs, but they're all utter bobbins. Haha. Personally I think the alternative scene has some good bands, but it was maybe better about 10 years ago. You had bands like FC Five, Third Wish, Birthplace etc...doing really well. I guess now there are a lot of these "synth & metalcore" bands, which are really not my thing at all. Having said that, there are definitely good bands out there in the alternative scene even now. Storm Of Void is an amazing instrumental doom/stoner band that rules. Palm is like the Japanese Converge and they rule too. Crystal Lake and Her Name In Blood are really awesome metal/hardcore bands...there are good bands out there, you just have to look for them!
Interview with Ken
How did your recent tour go with Limp Bizkit, and can you give us a couple of personal highlights from your time on the road with them? That was an amazing tour, and also it was our biggest tour so far. We are all big fans of Limp Bizkit since we were young so I was a bit nervous before I met them but they are really cool guys. Personal highlights - Hiro and I watched them from the sidestage one night then Fred Durst came and told us "You guys are amazing" between songs. I didn't expect that at all but I thought "You should go back to the stage right now". haha Anyway their live show was amazing, they are still alive.
Looking back on the release of 'Apocalyze' how happy have you been the response to this release, and what do you think it has done for the 'status' and representation of Crossfaith? We got a great reaction from Apocalyze, and it has given us so many opportunities to bring our band to the world. And we are really enjoying playing the songs from that album too. I think it’s a good expression of us now, but it is still on the way...we've always tried new things and we will never stop trying new ways.
Also, can you tell us a bit about the main themes and influences that run throughout 'Apocalyze'? Apocalyze came from Apocalypse but that is too religious for us because we are not Christian, so we changed that word to Apocalyze. It means "Destroy and rebuild", we needed to reconstruct our music again, so we named it Apocalyze. We mixed new things and existing things.
What songs are you enjoying performing live the most of this record at the moment, and why? That’s a difficult question..if I had to say 'The Evolution' right now. That song is really simple but we need to perform it tight and groovy, and also it is easy to sing for the audience. We released a new music video for The Evolution so make sure you check it out!
How would you say the sound of Crossfaith has progressed since you first started out? The reason we started this band was that I got into metalcore music when I was a high school student so we got inspirations from Killswitch Engage, Atreyu, Underoath, Unearth...and Electro music at the same time such as The prodigy, The chemical Brothers, Fatboy Slim. But when we started Crossfaith, there was only a few bands who mixed rock and electro music so we didn't have a clear reference to create. Teru spent a lot of time to make his sounds original. I think there was no shortcut and we are still trying to find new ways.
Can you tell us about the concept behind your latest video 'The Evolution' as well as how it all came together? First I brought that concept, then we discussed and constructed it. It is Resistance, as Crossfaith change people's minds with our music. But that was not too strong a statement so we added a political message about the Japanese government in a subtle way so you should watch it again carefully then you can find the references.
How excited are you for your upcoming performance at Download Festival, and what can attending fans expect? Yeah, I'm so so excited to play at the legendary music festival 'Download'. It has been our dream to perform there for a long time, and we're going to play on the main stage. We will prepare some surprises for Download festival! Actually, I’m already nervous!
How would you say the alternative rock scene in Japan compares to say the USA or the UK? It is not as huge like in western countries but recently it's getting bigger and better. For example, in the States, metal music can get in the mainstream chart but in Japan it is really difficult for us because rock music, especially metal music, is not as popular as J-POP or K-POP. But now we can play on the big festivals in Japan and we got popular in the world outside of Japan. And I can say we have so many great bands and musicians here so you guys should check us out!
What else can we expect to see from Crossfaith in 2014? We already started writing new songs and we will be back to your country this year so keep your eyes on us!
Across April Skies is a metalcore outfit from the Knoxville area. For fans of: My Ticket Home, Norma Jean, Periphery, Glass Cloud, Of Mice & Men Album available now on iTunes! Website: www.acrossaprilskies.com
Interview with Dan
Sikth have returned! Can you talk us through what has brought this reunion about? It’s something we talked about years ago. Basically every time we’d bump into each other it’d get discussed. Our fans have been asking for it for years too and finally the whole band agreed it’d be a good time to do it.
What was it like to get together and rehearse as a band together again? Ha ha. I'll let you know when it happens. James and I (bass player) have been jamming the Sikth material for sometime. We basically never stopped playing together actually. Although we hadn’t played many of the songs for years. James and I had our first jam with Dan W recently and it was a great feeling. Sounds cheesy but it kind of feels like time stands still when you play together again. We even played some material that would have made the third record together.
The band has two previous appearances at Download, how special is it to make the return there of all places? Yeah it’s great. Mikee and I went to Donnington when we were like 15 or something. So it held a lot of memories for me personally even before the first time we played. The last time we played was awesome. The tent was rammed and it was a great show. This time we headline and on a much smaller stage, so I’m sure the atmosphere will be something special.
What can you tell us about the bands initial split? I think the band saw the exit of Mikee and Justin coming. It had been on the cards for sometime, as the song writing process had broken down before even the first album in my opinion. We were going through the difficult period when a band are neither new or old enough for nostalgia. We still had a strong loyal following. But by the time we finally gave up we’d toured ourselves out of the debt we’d accumulated making Death of a Dead Day it was too late. Our singers had left and the drive was no longer there to carry on.
A number of bands seem to grow their reputations arguably higher than ever following a reunion, do you feel this could bring in a new set of fans to Sikth? Ha, yeah reunions are now the thing to do aren’t they. Though it doesn’t lessen the feeling we get from the fans reaction. I think it’s probably fair to say that we are a bigger band than we were and loads of our fans seem to say they’ve never seen us. Lucky for us our music has dated pretty well and new bands are citing us as an influence. So yeah I’m pretty hopeful we'll increase our fan base as long as we nail it live.
Do you think that having had the chance to go away and do other projects has helped rekindle the desire to bring back the band? Yeah sure. I think we all needed to branch out and achieve things as individuals. I think what fans and new bands have had to say about us in our absence has really validated what we did all those years ago too and the break away has re-ignited the hunger to play this music again.
Going back to the early days, things seemed to move pretty quickly after the debut album, what are your memories from this period? My memories are actually of things slowing down after the first record. The year when we released the first two EPs was when it went crazy. 2002 we were kind of flavor of the month. Most of the old press i have seems to be around that period. It’s actually hard to believe it was only a year as so much happened. Having said that. It was off the back of the first record that we went to Japan twice and played Download for the first time and toured with Machine Head. So I guess plenty happened. It’s weird because although we had loads of great experiences during this time, it felt like the bubble had burst. We split from our label and the band was beginning to unravel.
Sikth have always been known to have a vast array of sounds, who were the bands influences? Too many to mention. But i guess I’ll have to try. I think collectively we all loved bands like Pantera, Metallica, Slayer and Sepultura. I think Slipknot had an influence on the band. Although not on myself. Bands like the Dillenger Escape plan, Botch and Meshuggah were a big influence on the musicians in the band. Along with Prog rock and Death metal. Basically anything that was pushing the envelope. I seem to remember Justin liking Glassjaw (I think) and Jeff Buckley. Mikee would inflict the sound of Nick Cave, Lou Reed and Leonard Cohen on us whenever he had the chance. To which we’d reply with a dose of Megadeths "Rust in Peace" Pantera "Great Southern Trenkill" was always on in the van. We all loved that. A hugely underated album. Unfortunately for James and I, Dan and Pin. Would force us to listen to Extremes Pornograffiti all the time too. In fact it was the only record anyone had bothered to bring to the recording of our "How may I help you" e.p I still get flash backs.
What are the bands hope and expectations for the future? Man. I honestly have no idea. We were all in the same room for the first time in 7 years when we did the Metal Hammer shoot. It was all light hearted piss taking. So nothing serious was discussed. I guess we’ll be able to give a better answer after these shows. Nothing has been ruled out though. How about that for a typically frustrating non committal answer!?
What would you say to old fans of Sikth ahead of the shows and what can the new generation of fans expect? I’d say thanks for sticking with us. It’s because of the old fans sticking by us and the new ones getting into us that we can do this again. It’s going to be emotional for the band and our fans. The old fans grew up listening to our music and we grew up making it. We have a renewed hunger and we won’t disappoint those who remember us or those who have yet to experience Sikth live. It’s going to be classic.
Misplaced Shoreline is a 4-piece, As of now, the band is playing shows post-hardcore band comprised of in the southeastern United States brothers Joel and Jess Gravitt alongside other headlining acts such (guitars, vocals), bassist Lee Taylor, as Shallowside, Full Devil and percussionist Craig Harper. The band, based out of south GA was Per Taylor Magill of AMG, the band’s originally formed in the summer of music is: 2012 and following line-up changes, reached their current roster in the “full of lyrics that reflect the pain of what it fall of 2013. The band formed with the is to have lost yourself and your goals,… a sole purpose of spreading positivity and hope through the use of their band that everyone can relate to.” music, and by following their belief of keeping it simple. In July of 2013, Jacket, and Red Jumpsuit Apparatus. the band released their self-titled EP The band is also in the studio carrying 6 songs including “Ten recording, working on the first Thousand Angels” and radio favorite full-length CD scheduled to be “When Goose Died”. Following the released in the fall of 2014. release of their EP, the band was featured in Atlanta Music Guide as one CONTACT: of the up and coming bands to watch. facebook.com/MisplacedShoreline
Interview with Jona
So you released your latest album, 'Beloved' in February of this year, what has the response been like so far and how happy are you with it? The response has been fantastic, both at home in Australia and overseas. The album debuted at number 6 on the Aria charts in Aus, and the reception from both fans and press in the US and Europe has been amazing also! We're stoked with how the record turned out and we're very excited to tour Europe.
This album marked the first release since the bands reformation with three new members, what made you decide to start up again? And why when you did? we had noticed a lot of interest being shown in the band despite our inactivity. I had met many IKTPQ fans when touring the world with Bleeding Through and Bring Me The Horizon and we also noticed that the bands Facebook page stayed very active throughout our downtime. This led to us deciding to make a new album and see how people liked it.
Following on from this what has the response and support been like from the fans? We've completed tours in USA and Australia since the album was released and the response has been awesome so far. many people seem excited that we finally have some new material to play live
Can you tell us a bit about the side projects you got up to whilst on a hiatus, as well as the current status of any of these projects? During IKTPQs downtime I played for Bleeding Through and Bring Me The Horizon but I am no longer a member of these bands. Our original drummer JJ started Deez Nuts and continues to play with them full time now. Our old bass player Sean has also just re-joined Deez Nuts for the 2nd time. Kevin started a band called In Trenches which plays shows around Australia occasionally and our new bass player Ben also sings for In Trenches.
As a result of all the trials and tribulations you have gone through as a band, how do you think musically and creatively you have changed or progressed over the years? Going off and starting or joining other bands taught us how different bands work in different ways and also gave us more experience within the music industry. It is good to be able to apply this knowledge and experience to IKTPQ now. We also individually began listening to many different genres of music and that has helped us develop new writing techniques and also incorporate some of these influences into IKTPQ's writing.
What was the recording and writing process like for 'Beloved' and how did it differ if at all to previous albums? Some of the material heard on beloved was written while I still lived in Norway and Kevin and I would send files and ideas back and forth. The majority of the record however, was written between May and July 2013 in our rehearsal studio in Melbourne, Australia. Some of the songs were written during live band rehearsals and others were written almost entirely using recording software and midi drums. We recorded Beloved at studio Fredman in Gothenburg Sweden with Fredrik Nordstrom and Henrik Udd. Our previous album Music For The Recently Deceased was also recorded here with Fredrik so the 2 recording processes were quite similar. This helped us to be able to streamline everything during beloved since we already knew Fredrik and the way he works very well.
What would you say was the hardest part about creating the new album, and why? The most difficult part for us seems to be getting into the writing mindset, it is very different to touring and there is a lot of pressure to outdo your last effort and write music which is both original and enjoyable to us and our fans. We also seem to take quite a long time to write a full album. Each album we've written has taken at least 3 months.
In your current album you have a few guest appearances from Jonathan Vigil (The Ghost Inside) and Bjorn Strid (Soilwork), how did this come about and what was it like working with them? We have known both of these guys for some time and are big fans of their bands. Soilwork is one of IKTPQs original major musical influences and we were stoked to have Bjorn involved on a production level helping us with our vocals as well as performing his guest part. Vigils voice is amazing and we felt his style brought a cool edge to the song he sang on. We are also doing a lot of touring with The Ghost Inside this year.
Can you give us a couple of touring highlights from your time on the road in the UK? Our headline show in 2012 at the Underworld was one of the coolest shows we've played in UK and in general. It was super packed and was one of the last shows on our european festival run and a great way to end the tour. we were also supported by Bury Tomorrow who are a super cool band.
What else does 2014 hold in store for I Killed The Prom Queen? We have plans to continue to tour US and Europe until the years end. We will also headline an Australian tour in celebration of Beloved's release this September
Interview with John
So how did you come up with the idea of doing an acoustic EP, and how happy have you been with the response to this release so far? We've been piecing together recording gear for some time and had heard from people on the road and online that we should try our hand at an acoustic effort. So, instead of re-recording old tunes we decided to use a few ideas I had hanging around the creative haze and tried our hand at laying them down. We ended up being psyched on the sonic quality so we pressed an EP.
How did you get to the EP title 'Imaginary Numbers' and what does it mean to you guys? Money isn't real.
Can you tell us about the main themes and influences that run throughout 'Imaginary Numbers'? Both Raining In Paris and You Can't Make Me Smile were older tunes. RIP is pretty straight forward and Smile is about being fine alone. I was reading Dostoevsky while writing the other tunes so there is a bit of him in there. Visions is a song of regret, missing that someone that you once were close with.
Can you tell us about the recording process for this release? We actually have been spending some scratch on recording gear and piecing together a pretty humble little studio in Phoenix so we tried our hand at laying down these tunes and were proud enough to release them to the world. Our operation at this point is very in house.
Have you started work on a new studio album just yet? If so, can you tell us how it's coming along, as well as what fans can expect from the release? We have yet to begin working on new material together but I write pretty consistently. All I know for the next record is I want to make people feel good. That's really all I know as of now!
Also, looking back on 'Forever Halloween' how happy have you been with the response to this record, and what do you think it's done for the 'status' and representation of The Maine? I'm the wrong one to ask about image and reception and what not because I'm constantly going through an identity crisis, but I'd like to think we continue to surprise with each release. We think we can call ourselves a rock band and that feels good enough for us.
This is your second record to be released independently so what was that process like for you guys? It's a learning process for sure. It really takes everyone at our management collective to put out records. With two under the belt we feel like we have a decent grasp of how we like to put music out but there's plenty we still need to learn about the process.
How would you say your sound has progressed since you first started out as The Maine? It's really hard to be objective. I really just think our love for music has heightened to a point where it's the only thing our band is concerned with. We want to create and express ourselves and fortunately we can still do so.
Can you give us some highlights from your time on the road with Deaf Havana so far? The shows have been really great for us. Deaf Havana is bringing tons of people out to these gigs and it gives us an opportunity to play our music for people who don't know who we are. We are just so grateful that they're giving us this opportunity. A lot of drinking is taking place as well.
So you've toured the UK a lot, can you give us a couple of personal highlights from your time on the road here? When we first came over here we were rather timid and didn't venture too far out from the venues we played, but now we're pretty comfortable and like to explore a bit. We have a day off tomorrow in London and we're pretty excited to go to the city. A museum is in the plans!
How would you say the alternative rock scene has changed/progressed since you first started out? It's an extremely strange and beautiful time for music in general. Doors are both closing and opening in the world of music and we're just stoked to still be floating around as a band.
What else can we expect to see from The Maine in 2014? A bunch of touring and running around. A UK tour has been announced! We will then sit down and write a new record!
Interview with Dani
How did your recent European tour go, and can you give us a couple of personal highlights from your time on the road? Amazing, it surpassed all expectations that we had. Germany was a huge highlight as a lot of the venues sold out which was crazy, oh and Impericon Fest was an absolute blast.
What made you want to release 'Watcher' first from your latest album 'Runes' and how happy have you been with the response to the track so far? I think it’s a perfect teaser track, it was never going to be a single but I think it stands alone as a perfect representation of the bands current sound and style. All the response for everything to do with the album so far has been insane, we couldn’t ask for more.
How did you get to the album title 'Runes' and what does it mean to you? It just came to us when we were batting around different ideas, I think it works as it conjures loads of different expectations as to what the album will sound like. It’s basically based on Nordic runes and the stories and tales that run hand in hand with them. Each song has a rune and is linked either literally or metaphorically. It was a fun process but long and I had to do a bunch of research haha.
You've stated that 'Runes is the album we have always wanted to make' so can you tell us how this record compares overall to what you've done prior as Bury Tomorrow? I think it’s the first album we have sounded comfortable in our own style of metal. I feel the other two albums had to be made for us to reach this point but now we are here it’s a style that we will be sticking with.
You've also stated that 'We've tried to capture our favourite era of metalcore' so what have been your main influences for putting together 'Runes' and why? I think generally as a band we all have a whole bunch of influences but we wanted an album to hark back to our youth and the bands we grew up with, Killswitch engage, As I Lay Dying, Darkest Hour. We don’t want to be those bands but it’s almost like a nod of respect to that style of metalcore.
So how did Kristan Dawson end up in Bury Tomorrow, and what's he been like to work with for the writing & recording process for 'Runes'? On a northern bus ;) haha no, we’ve known Dawson for a while, he is an awesome guy with all the same morals and ideas we have, he basically just loves to riff! It’s been a pleasure and for the first time in our career we feel complete as a band.
Can you tell us about some of lyrical themes that run throughout 'Runes'? As I said all the lyrics are linked literally or metaphorically to Runes. All the themes are different however, anywhere from personal anecdotal stories to just pure fiction. I have a lot of fun coming up with lyrics and tend to write most of them before the music, then I just piece the lyrics and hooklines around it.
The artwork for 'Runes' is really cool, can you tell us how it came together, as well as what it means to you guys? We wanted a symbol for BT, and we wanted it to be instantly recognizable and I really think it is. It is our own Rune and it really represents what the album is about.
How excited are you to be a part of this years Download Festival, and what can attending fans expect? We are so stoked, last year was one of the best days of our lives so we are losing or minds at the fact we are on mainstage this year. Fans can expect a whole load of fun, we are a band that likes everyone to feel involved, so crowd participation is a must.
So what do you guys think about the current 'rock scene' in the UK, and how would you say it's changed since you first started out? I think the UK is ready to push bands from here to the next level, we are seeing more and more UK bands reach crazy heights in their careers and it’s awesome. I think the main thing that has changed is that rock and metal is becoming more and more acceptable in mainstream circles which is a damn good thing if you ask me.
Interview with Greg
What can you tell us about your new song 'Happiness Is A Smile' and also is it any indication as to how your future material may sound? It's about freeing yourself from demons you didn't ask to be given.
'One of us is the Killer' has been out for nearly a year now, so how happy are you with the feedback to this record, and what do you think it's done for the 'status' and representation of The Dillinger Escape Plan? I don't really know what the feedback is except for what people tell me or the vibe when we play songs live, but in that regard it seems like the songs from that album get overwhelming responses when we play them. Obviously for someone else to get anything out of something we've created is a very rewarding feeling. I don't know what our status from the outside is nor do I care about any kind of representation other than artistic honesty! We've been honest with ourselves when we write albums, and on each one we get closer and closer to the raw truth, to getting out of our own ways, so I'm happy that this album is a representation of continuing to achieve purity of expression and honesty.
What songs have you been enjoying performing live the most of the new record at the moment, and why? Happiness Is A Smile, even though it's not on the album, it’s fun because it's new, and Crossburner and Understanding Decay because they are fun for me to sing in that they have more dynamics than most songs and room for expression vocally.
You guys always put on an electric live show, however have you ever sustained any injuries or just been worried in general as to what might happen? We get injured less than you would think, or maybe we just don't think about it anymore, they kind of just happen, and no I don't worry! Thought and self awareness have no place in an honest performance.
How did the idea for 'Party Smasher Inc.' come about, and what's it been like to run this alongside your band so far? It's just a way for us to claim ownership over our output. We don't run it like a label, it's not something that requires staff or time. It's just a stamp of ownership. We are going to start doing a bit more with it though and I can't really go into that much further right now...
How excited are you for your upcoming slot at Download Festival, and what can attending fans expect? We're thrilled. We always love the UK, and we've had some memorable fests over the years there. I'm sure this one will be no different.
Would you say you guys prefer the smaller shows or the larger arena/festival shows? Whichever one has the best food nearby. Either off site or on. We love to eat!
As a band that have toured the UK a lot over the years, then can you give us a couple of personal highlights from your time on the road here? Some guy threw a bag of shit at me once twelve years ago when I was onstage. That was fucking vile. The last London show we played I personally loved. We've had so many amazing memories there that it's impossible to recall them. It's all a blur really. Three months ago and ten years ago all seem like the same to me.
What do you guys like to do to kill time in between shows on tour then, and what other parts of the world would you really like to tour? If I told you I would have to either kill you or immediately make you sign a non disclosure agreement... We would love to go to India, South Africa, and China.
What else can we expect to see from The Dillinger Escape Plan in 2014? We're going to play until we die or until mid-July, whichever comes first, and then we'll break and take some vacations and then see if we feel like writing another record together. I'm sure we will. The wells of individual craziness in this camp don't seem to have bottoms.
Interview with Eric Armenta
How did Tommy Cooperman become a part of Breathe Carolina, and what has he been like to work with so far? We had toured with Tommy before with his old band the It Boys, and when we had our guitarist/keyboard player leave the band we reached out to Tommy and asked If he'd join in and help us out.. He brought a fresh point of view to a lot of aspects of the band and It was a perfect fit for us and it's been amazing working with him ever since.
So how did you get to the album title 'Savages' and what does it mean to you? Dave came up with he name as I recall, to me it's just the perfect word to describe the mindset we were in while writing the record. Dealing with so much leading up to the release and just putting everything we had into the album .
Can you tell us about the main themes and influences that run throughout 'Savages'? A lot of EDM influence can be found in the tracks themselves as well as just a lot of influence from our personal lives/experiences in the lyrics.
How did you end up working with Ian Kirkpatrick & Andrew Goldstein and what did they bring to recording process overall? We ended up working with Ian a few years ago on our last album "hell is what you make it". We had an awesome connection with him, so naturally we wanted to work with him again on this record, because aside from just being comfortable working with him Ian just brings a great energy to the recording process. Wether we’re butting heads over a part we disagree on, or making up words trying to find the right melody, it's always a great time working with him and I'm always confident that we'll come out with something great. Working with Andrew came about through Tommy working with him in the past as well as being good friends with him. One day we were in the studio and Tommy pulled up a beat that Andrew had sent him. As soon as we heard it we were like "ask if he wants to come to the studio". Andrew came in the next few days and we just went in on a few songs, it's always cool when you can get two awesome producers in the same room working together on something. Definitely a great expierience.
How would you say your sound as Breathe Carolina has progressed since you first started out? I think it's just Grown up over the years, we’re still making the same kind of dance/rock songs we always have. We just have better resources and a better understanding now to give the music the best quality possible. The content has also grown along with all of us. We've all been through a ton in the past few years so that's obviously going to translate into our music.
How did you end up working with Danny Worsnop on the track Sellouts, and what was he like to work with? We've been friends with Danny for years, and we really wanted to make a heavy song for the record. So with Kyle leaving the band we needed someone to scream on the track. Dave hit up Danny and he happened to be in LA for a few days, so we showed him the song and he came down to the studio and killed it! He just went in the booth and laid his verse down perfectly in the first few takes. It was insane haha. It was definitely a pleasure to have him on the song and to work with him in a studio setting.
Can you also tell us how the video for this track came together, as well as what it means to you guys? The video came together really kind of out of nowhere haha. We were planning to just get some cool shots for a lyric video and it ended up looking super cool, so we just walked around downtown LA for like 8 hours and made a video. For me it means a lot just because that was really the first thing we had all been in together for the new album, and just walking through the streets with my best friends and a flag was awesome.
You also got to work with Karmin & Tyler Carter, so how did these collaborations come about? With Bang it Out, we had had the song for a long time and had the part for a girl but none of us are girls haha, so we sent the song to Karim, we had played some shows with them before and thought Amy's voice would sound great on the song. They loved the song and came into the studio one day and did the bridge of the song, Amy was great to work with and a very talented singer. Who knows maybe we’ll work together again In the future.. For Chasing Hearts, the experience was a little different because we had Tyler come out and we all wrote the song together. Working with Tyler was great, he's a very talented singer/ songwriter and it was really cool to get the kind of R&B flow and vibe he brought to the process.
How excited are you to be a part of the Warped Tour again this year, and for us in the UK, can you tell us a bit about what this tour is like to be a part of? We are very excited to be doing warped tour for our 4th time this summer! Warped tour is one of the craziest tours to be a part of, there's always so many friends you haven't seen in a while, and bands you'd never really get the opportunity to tour with otherwise. And you don't know when you’re playing until the morning of the show so if you party too hard, you might have 1 or 2 crazy morning sets haha. It's definitely an awesome and crazy way to spend the summer
Interview with Michael
'All You Can Eat' has just dropped, how has the feedback been so far? So far everyone either loves it or thinks we have beat a dead horse to death again...It's weird because I love animals.
How would you say 'All You Can Eat' compares to what you've done prior? It's a combination of Feel the Steel and Balls out all wrapped up in one. It's a true metal record. It's the natural evolution of Steel Panther.
What can you tell us about the recording process this time out? All the drums and bass were recorded directly to 2" tape...The bottom end on this record kills. Plus we had a blast recording it together. Lots of free time for me while the rest of the guys cut tracks. So I spent a lot of time surfing...
With the bands profile having grown massively in the past few years does that add any pressure, not just for the album but for Steel Panther in general? We started at the bottom so if we stay right where we are, we achieved success to the fullest. However, our goal still is to be the biggest heavy metal band on the planet. So I guess the pressure would be staying alive long enough.
The artwork for the new album is certainly going to raise eyebrows, can you tell us about it? We already had ourselves on the cover, then a hot chick. So it was obvious to us to do the last super picture.
The band first made their name as Metal Skool, how did the transition go from being a cover band into what Steel Panther has become? It was magic man. I mean we played as a cover band every Monday night in the strip for 13 years straight. The last few years we would play songs from our CD's. But when we went out on tour and only played our songs we felt amazing!
The break out single, 'Death to All but Metal' obviously broke massive new ground for you, when did you first become aware of how big it was becoming? When my mom started to ask me for rent. I knew she was getting enough money from welfare. It was easy to see.
You recently sold out your British tour, Britain seems to have been a good home for Steel Panther? Our love for the UK is immense. I mean our first shows there were sold out and from then on it's been "Balls Out" in the UK.
Your residency shows have become the stuff of legend with some of the biggest names in music guesting with you, who is the biggest name that has joined you and who was your favourite? Steven Tyler was amazing for us. Scorpions was my favorite.
One of my personal favourite things the band have done was the spoof Beyond the Music, could you see Steel Panther pursuing something in Television in the future? Yes we are in the works to have a show follow us on tour. This must be documented! We love to have fun. Most people think we are just a spoof band with extension that has no direction of our own! .
Van Halen have been a well documented influence on the band along with others, are there any that might not be as well known? Scorpions, Judist Priest, Motley Cr端e, Deep Purple, Dokken, Cheap Trick and Def Leppard.
There must be countless memories you can tell about Steel Panther, on stage and off. Can you give us one of each that stands out for you? Satchel and I used to live together in North Hollywood. There were people there every night because they had nowhere to go. Strippers bar tenders and road crew guys. Satchel would write songs in the kitchen while I cooked food for everyone. Rent was cheap and so was the Pasta. We ate like kings and drank like drunks. We wrote Stripper girl in that apartment. The apartment was the size of a small dressing room. So really nothing has changed.
How excited are you for your upcoming slot at Download Festival, and what should attending fans expect? Download is a personal band triumph. We are so excited to be on the main stage two bands before Aerosmith!
Interview with Noodles
So, SMASH is 20 years old, how does that feel? Yeah I know! We actually went through this a couple of years ago with 'Ignition' though, we couldn't believe that Ignition was 20 years old. So it’s a little weird, I don't know how to really quantify it because it doesn't seem that long ago!
What can you remember about the recording of the album? We did it in, I think, North Hollywood, at a place called Track Records or Track Recordings and we had to do it on the cheap so we had to call and if no one was in then we could get the place for half price and just go in on the fly. We got together in rehearsal places we could find, there were a couple of places nearby we could go in and pay five bucks an hour, so we could just run through the stuff then. We had all the songs down for the most part and just went on the fly and recorded it.
One of the amazing things about the success of SMASH is that it was an independent release, could you have even dreamed that it would outsell so many of the major labels? No. Well, first of all, punk rock was not ever going to sell records. That was the big one for a start but once we started getting some interest and exposure and songs like 'Come Out and Play’ started taking off, we decided to stick with Epitaph and work with them rather than go to the majors. We decided to say 'let’s see what we can do here' and some of the money we made from the records we just reinvested into hiring people to coordinate press and to go out and talk to radio stations and all that stuff. So it was kind of cool, we wanted to see if we could be the David’s that took on the Goliaths and ultimately we were successful.
At the time that the likes of Smash and Dookie were hitting big, I was at an age where grunge had been the dominant genre so this was some of my first exposure to punk.. how was it for you growing up and hearing punk? When we were growing up the only way you heard about punk rock was by knowing what stores to go to really. Most of them didn't have it, it was funny, they'd have the pop rock section and it would be just all different kinds of rock bands and then you had the punk section, it was bizarre. Everything from disco, Donna Summers to The Eagles to Black Sabbath would all be in the rock section then punk would be....over there.... It was a very different thing but you'd find out where the cool record stores that didn't discriminate were, and a lot of this stuff you had to import from England. Then you'd find out where X was playing or Black Flag, whoever. The Dead Kennedys were a big one for us as well.
When did you begin to sense there was something big happening following the release of Smash? I guess it was around the day the record came out. We were getting ready to do a show with Pennywise up in Alaska and it was the week the record was coming out. It was the end of this Snowboarding contest up there, they had this award ceremony with us, Pennywise and a couple of other bands made up of snowboarders and we're talking to our friends back home and they're saying that a local radio station was playing us. We were on a countdown of the hot songs that week but we were getting played like every day, then the record came out and we were making plans to quit our jobs, go out on tour all summer long. I didn't even know what that meant, quitting my job. I didn't actually quit, I took a leave of absence so I had three years to come back and they'd have a position for me, I didn't have to go back after three years...
Yourselves along with the likes of Green Day, Rancid on a larger scale and slightly smaller scale with the likes of Pennywise and NOFX all really seemed to invigorate that American punk sound, it must be nice to know you are all still around? Absolutely and I love that! Bands like NOFX and Pennywise, we're friends with those guys, I love those guys and we all went through those times together so it’s great to see them all still doing it. There's all kinds of bands still doing it, Bad Religion, we're doing Download with them and have done a bunch of shows with them lately.
The albums artwork is one of those iconic sort of covers that everyone vaguely into rock n roll seems to know, what can you tell us about its conception? That was Dexter's idea and I think the way it started out was he wanted an X-Ray of the skull biting down on something metal. It wasn't working out and we ended up just going with the skull/X-Ray thing. I remember going over it with him and Dexter is a really detail orientated guy so he went over that a lot with whoever we were working with from Epitaph.
Although SMASH was the break through album, Americana seemed to be a second break through album, spawning the most successful singles, Pretty Fly, Get A Job etc. I can remember these songs being everywhere for a time, how much did these songs raise the bands profile from the punk rock fanbase into a more mainstream popularity? A song like Pretty Fly, which was everywhere was a pretty poppy song so I'm sure that it brought some more young people in, but there's plenty of rocking stuff on that record, the whole record did well, not just the singles so it must have grabbed those people and then the punk rock just kept them!
As the years have gone on, the internet has grown to be, well, a monster. I seem to remember The Offspring being big advocates of Napster. What effect do you feel the internet has had on music since and where do you see it being in the years to come? Well it’s definitely hurt the industry aspect of music but I think the internet has democratised the music scenes in general. Today, you can get all your equipment together, record it on a laptop, upload it and you can be world wide famous in a matter of days so in that respect it has very much democratised it and took out a lot of the middle men and the record labels. I also know that a lot of up and coming bands and influential bands are really being hurt. Bands that we love to hear, they're not making any money, some of the best bands and their records don't sell. They're all there for free on the internet, their music has worth to it and I think they should get something for that. So that's kind of frustrating, we're doing fine so I'm not worried about us. We saw the way it was going and we thought we could fight it but it’s also kind of interesting, as we love the internet and technology! So we decided, when everyone was bitching about Napster, to bootleg some Napster T-Shirts and sell them on our website! It was a lot of fun!
You are back on the road, so how would you compare touring today to 20 + years back? The touring hasn't changed that much. We do some really great shows and you do some down in the dirt, dirty festival shows, it's all fun. Joe Escalante from The Vandals said 'aw man this is like adult fantasy camp'. Go out and play every night and drink beer, it’s pretty damn fun man.
You're back at Donnington to headline the second stage after headlining the main stage previously, does the pressure of headlining the main stage lessen when you take to a smaller stage? It's not something we really think about. Any time you're playing in front of a large crowd there's pressure and I still get nervous before any show but I certainly get a little more nervous before a big festival show then I would before a club or theatre show. Fortunately we get to go out and play on really big stages for tens of thousands of people, then we play for 2000 in a theatre somewhere and I love being able to do both kinds of shows. Some are intimate and some are like too much, there's too many people to really wrap your head around it so you just get into playing the music and before you know it It's over and it’s like shit it’s over already? It happens so fast, those shows go by but you're just having fun and sinking into the music. But with every show I like to be warmed up on guitar and vocally, we just try to go out and give the best show we can.
I know you'll have thousands of memories but can you recall any that really stand out? Man, there are just so many. I remember some of the first European festivals and one of the first ones we did in the UK, we were on right before Rage Against The Machine. I don't know if we started it or if the crowd started it but there was this mud fight, just chunks of mud flying everywhere, we were doing 'Self Esteem' and I think Dexter might have asked the crowd to help clean up and throw all the trash up at us. There was mud, dirt, bottles and all kinds of crap coming up at us, I got hit with some of the most foul stuff but the sky was almost blackened by all this crap that was coming up at us. It was just before dark we played so we still had a bit of light out, It was just an incredible vibe man.
To be out playing SMASH in full 20 years down the line is a big achievement, how would you describe the legacy that The Offspring have created? I'll leave that to other people, the fans and the critics alike. I know that with Smash, the record we're celebrating this year, I do like stressing the fact that as sort of, the David’s, we took on the Goliaths of the music industry and we succeeded. I think that's a pretty cool accomplishment and that Smash will always be that high water mark for that kind of thing. As for the band and our legacy, we're just a bunch of knuckle heads from suburban, California who got together, loved drinking beer, making music and we've had a good time doing it.
When did you first get into storyboards/illustration? I had always wanted to be a strip cartoonist but of course in my early days art schools rather frowned upon such, what was considered, a second rate and lowly profession. And above all one shouldn't aspire to be 'a commercial artist'! Anyhow upon leaving St.Martin's School for Art in (then) Charing Cross Road I eventually landed a job as shadow artist on the syndicated American strip cartoon of 'Flash Gordon" working for Dan Barry. After six months we fell out and I returned to the U.K. thinking I was God's gift. A rude awakening! as I definitely was not!! No one wanted to employ me until finally I was taken on by a kindly Art Director working for Hallmark Greeting Cards, who at that time had a design base and factory in England. I was set to draw and paint the borders around photographic cards depicting flowers! In the end I rose to be their chief designer designing everything from the tall amusing 'Contemporary' Cards to banners and even shop fronts. Wanting to move on I left Hallmark and found myself an art agent. The agent obtained my first job as a strip cartoonist doing a single page on the back of 'Lady Penelope' comic. A hospital strip called Creighton Ward (I think) I was awful and the comic axed me after three weeks. Later I started strip work on 'Bunty' comic drawing 'The Secret of the Sheridan Sisters' again I was awful but D.C Thomson put up with me and rewarded me by giving me work on a boys' comic (at last!). I drew two series of 'Soldiers of the Jet Age' and an adventure strip 'The Crimson Claw'. I was then approached by various comics 'Countdown' 'T.V.Action' etc. and drew various strips for them jobbing around as it were. I was terribly intimidated by the existing coterie of established artists - John Burns, Frank Bellamy, Gerry Haylock etc. Anyhow after getting better bit by bit I was asked to draw 'Kung Fu' for Look-In and then went on to do Six Million Dollar Man, Battlestar Gallactica, Dick Turpin, Buck Rogers - all TV spin-offs. During that time I started to dabble in drawing storyboards for TV commercials. When poor Frank Bellamy suddenly died there was an understandable turmoil and great competition to replace him on 'Garth' for the Daily Mirror. I was lucky enough to get the gig and was terribly excited and over-awed to take it on. A friend of mine (Dez Skinn) had set up a small agency to represent strip cartoonists in Wardour Street. A man came in off the street and asked if he knew any storyboard artists and Dez suggested me. I met the man who turned out to be arguably one of the greatest Production Designers in feature films - one Stuart Craig - and he was to design a film called "Greystoke" I then met the Director Hugh Hudson and my career as a storyboard artist had begun!
For those that may be unaware can you tell us exactly what a storyboard artist does? For example do you get told what to do, or is up to you to create most of the storyboard? As well as what you have to write on the storyboard? A storyboard is the first visual representation of any given film script. It can be dictated by the director or (in most cases) the artist is allowed free rein to interpret maybe just a few key sequences to 'get the ball rolling' They serve initially as a starting point for discussion. If you imagine that you are a film director and are about to go on set tomorrow knowing that all the crew are looking to you for guidance and instructions on the shooting for that day, I think you would try to be prepared and would almost be forced to draw what you had to shoot even if it meant just using stick figures to facilitate the whole process. Thus storyboards came into existence from as early as 'Gone with the Wind' up unto the present day. Storyboards can tell you when the shooting can be done on set, or on location, when an explosion will occur, when visual effects will be used, how long a sequence may take etc. etc. They can indicate when the principal actor can be visually 'doubled' on an action sequence whilst he is performing on another seq. elsewhere on another set or location - thereby saving time and money. If the whole crew has a set of boards then everyone will be singing from the same hymn sheet on any day of shooting. On the schedule it might state: that on day six of the shoot - Pages 22-25 of the storyboard will be what everybody will be involved with. It is all about saving money and for making the whole process of filming more smooth and efficient.
How long does a storyboard normally take, and can you tell us a bit about the main steps behind the process? A storyboard takes as long as a piece of string to make. It all depends on the director. One may want the whole film drawn 'shot for shot' others just want key or action sequences done and even others use the boards as a thinking process and alter and change bit by bit. (again this is by far a better way than dressing a whole set or schlepping out to a location in order to film and then change you mind afterwards!). Therefore a storyboard can take anything from a week up to twelve months to complete depending.. Often speed is of the essence and sometimes one is asked to draw a hundred or more frames in a single day. Thankfully this doesn't happen too often.
You worked on Alien 3, so how fun/exciting was that for you at the time, to work with characters such as Ripley in that classic sci-fi atmosphere, and what do you remember from this process? I loved working on Alien3 and worked very successfully with David Fincher. It was his first feature and he liked and wanted to use storyboards. He relied heavily on them and really wanted the whole story to be locked down and that he would know exactly what he wanted to do on any given day of shooting. I liked him enormously; we got on famously and shared the same sense of humour. He was being leaned on by the producers with unreasonable demands but together we composed the whole film successfully to everyone's satisfaction. Right at the end of that process I was recalled onto "Chaplin" to which I had promised to return if it was revived - (it had previously gone down).
How did you end up working on Goldeneye, and what was it like to be creating storyboards for such a legendary character? I was approached by the famous Peter Lamont one day in Pinewood and asked if I would like to meet the director of the forthcoming new Bond movie (would I??!!) It was from the meeting with Martin Campbell that I was employed on 'GoldenEye" with the new James Bond Pearce Brosnan. There being no free studio space at the time the production company decided to use the old Rolls Royce factory at Leavesden in Herts and proceeded to create a viable film studio with sound stages et al. I had a terrific time on the film and loved working with and for Martin. Again we got along very well and had a great working relationship. He is one of the few directors who knows exactly what he wants and is accurate and decisive. For some unknown reason I decided to do the whole film storyboards in full colour (usually boards are b/w owing to the speed involved) It was crazy but worth it. As I say it was a great experience and I loved the whole thing - would do it again in a heartbeat.
You've gone on to work on every James Bond film since, so how would you say creating storyboards for these iconic films has changed or progressed for you over the years? Well every Bond film - as in every other film - is different. Every director is different and has his own particular needs. The greatest difference I have noticed in films generally is the advent of 'Previz" short for 'Previsualisations' These are basically animations of the proposed sequences and are costly and somewhat time consuming to produce. Their advantage is that they can show with some degree of accuracy how the film and certain shots, framing etc. will look; and at the click on the computer can show different lighting and various camera positions of everything. The best way in my opinion for prepping films these days is the marrying of previz with storyboards. The storyboard should help with the directors input to inform the animators how the previ should be constructed. The other most obvious changes that have occurred in the business are the coming of the computer (which with very few exceptions we all work on) and the innovations of digital filming which has made a huge difference in that many options and re-shootings are now at the director's finger tips.
What was it like to work on the Harry Potter films? Also, as there was a big gap between the films you worked on, then what was it like working on all these characters on the new films as they had grown so much since 'The Chamber of Secrets'? Again every film and obviously every director is different. I enjoyed working on the Harry Potter films, especially with David Yates.
What was your favorite part from the Harry Potter films to storyboard, and why? My favourite sequences to board in the last two Harry Potters were the cottage scene with the witch changing to a snake and the scene where Harry confronts Vold in the loft space.
You've worked on some epic comic book films, such as Batman and Captain America, so what was it like to draw these comic book superheroes yourself? I am afraid drawing these iconic characters was like drawing anything else. But these particular films were great fun to do!
What's the hardest part behind creating a storyboard and why? The hardest part is getting inside the director's head. If you can successfully pre-empt his thinking or feel what he really wants to see and do then the job of storyboarding is very fulfilling and satisfying.
You also worked on storyboards for newspapers over the years (Garth being a great example!), so how was that, and how would you say it compares to what you do with movies? Garth became my baby so to speak. He and I shared our own world and with certain provisos could do anything and go anywhere. The restrictions, demands and parameters of the film world did not encroach and therefore it was a whole different ball game. I absolutely loved drawing him and miss him! If I was asked to draw him again - I would jump at it!
Can you tell us about how you first got into art? My first memories of drawing as a child - other than at school - were of tracing pictures from a ‘Lady and The Tramp’ picture book that we had at home. I think I may have been about 8 years old. Not sure. I used to pinch greaseproof paper out of the kitchen drawer and trace the characters. I think it was this that first gave me an understanding of how characters can be drawn using as few lines as possible. The next memory was of going on holiday around the same kind of time and buying my first ever Marvel Comic. From that point on I was hooked. The idea of telling stories with drawings was so inspiring and something that I desperately wanted to do. Every spare piece of paper got drawn on, and still does...
What would you say was your first major project, and what was that whole experience like for you at the time? I trained as a graphic designer and ran a design studio in Nottingham for a label printing company back in the early 80s. In my spare time I would do portfolio samples and eventually got myself a commission to draw some He-Man comic strip material for Egmont. The same company also got me to do a Bravestarr comic. It was all great as a learning experience. Not my best work but it got my foot in the door of the industry. I was holding down a full time job as well for the first few years as many of us do so it was a bit of a grind but great to be working in comics. Once I had published work under my belt it made it slightly easier to be taken seriously while approaching other publishers.
How did you end up working on the Thundercats comics, and what was that like? I had tried to approach Marvel UK to get work in the early 80s but with little success. Fortunately for me an old college friend by the name of John Tomlinson started working as an editor at Marvel UK. He asked me if I would like to do a double page sample for Thundercats. They liked what I did and I was given my first commission. Thundercats was a great book to work on. For many of us British artists who had our sights set on drawing the classic Marvel Superheroes Thundercats was a great way to start. Although it was a toy/TV book the characters were a bit like Superheroes to draw and getting used to the whole Marvel Style of dramatic layouts and storytelling was key in the development of our skills.
You are really well known for your work on Transformers, so what was it like to be a part of that world, and how did you go about taking a new/your own approach to what the Transformers already looked like? Transformers is a book that I was not overly enthusiastic about drawing at the time. I remember going into the Marvel UK offices when they were in Arundel Street in London to deliver my latest Thundercats pages to the editor, Steve White. The guy sitting next to him in the office was the Transformers editor. He leaned across and asked me if I would like to work on Transformers. At that time I didn’t even know what Transformers was. I said yes because as a young artist I always said yes to any opportunity that came my way. Having worked on Thundercats I really didn’t want to do a robot book. They seemed so lifeless. My approach was to get the layout and storytelling to work and then try and get a clean finish. Dave Gibbons was a big influence at the time so I went for that classic look. This seemed to work well but by the time I moved on to the US book I wanted to try something different. An artist who had been a favourite of mine for many years was Barry Smith. I had picked up a copy of his Machine Man book and was blown away by not only the storytelling but by the amount of detail he put into the characters and backgrounds. with that in mind I decided to do three things. 1. Fill the place with ‘stuff’ like pipes and cables and bits of this and that so as to give the environment a natural lived in feel. 2. To give the characters ‘battle damage’ These bots kick the sh*t out of each other and are based on vehicles. If you drive two cars at each other they end up dented and scratched and get bits knocked off, so that is what I did. Seemed to work and catch the reader’s imagination so I just ran with it. And thirdly I decided to ramp up the expression of emotion. These are sentient beings and not just robots. I related to them more as people in costumes than bits of hardware and at every opportunity added the appropriate facial expressions. Not always easy with Transformers and often it had to be in the eyes but it really worked. Back then there seemed to be a number of different artists using a number of different styles and this became mine and is still how people distinguish my work from others.
You have worked with Transformers a lot over the years, so how would you say drawing/creating these iconic characters has changed or progressed for you over the years? Maybe you find certain characters easier to create, or there have just been new ideas that you have added along the way? I guess my approach to Regeneration was pretty much the same as it was for the old Marvel stuff. In many ways it had to be as it was a continuation. We went to great lengths to have the book follow on visually. We didn’t necessarily want it to look the same as it was but we wanted it to look the same as the reader remembered it. That is a different thing. One of the biggest changes for me is that I have done a lot of storyboarding work for TV in recent years and that has shown up in the way that the scenes are framed and the layout of the panels on the page. Lots of horizontal panels.
We must ask, what's your opinion on the Transformer films, and are you looking forward to the next one where we will finally see dinobots taking over our screens!? The Transformers movies are great for what they are. It is amazing to finally have live action Transformers movies after all these years. In the past they would have been awful but advances in FX have made it possible to create these things convincingly on screen. In and of themselves they are great but making comparisons with the source material is entering into a whole world of disappointment. So let’s not go there. The biggest connection with the past is having Prime being voiced by Peter Cullen but other than that they are, in many ways, a different vehicle (see what I did there?).
You also got to work on X-Men Adventures & Spider-Man: The Arachnis Project, so what was it like to be in the Marvel universe, and again how did you approach this and go about making it your own style? It was amazing to finally get to play with the ‘real’ Marvel characters. Ok so X-Men Adventures was still based on a TV show but for the most part it was the real characters. Then onto Arachnis and Black Cat etc. This really was the real deal as those books were placed well and truly in the Marvel Universe. Spider-Man had always been a favourite of mine but when I came to do the book it wasn’t as much fun drawing him as I would have hoped. Why? Because of all that web pattern. I seem to remember being asked whether I was going to do a Ditko or a Romita Spider-Man. Odd question. I guess I may fall more into the Romita camp but in the end you can’t help but to do your own thing. We draw with our own hands and not someone elses. For me it was the same approach; Good storytelling first and style/finish second. Inker Stephen Baskerville really raised his game for these books and I still consider it some of our best ever work together.
Over recent years you've also been working on Frontier & Horizon, so can you tell us about these comics? FRONTIER came as a result of myself and Jason Cobley pitching a number of ideas to the UK weekly comic; The DFC. Out of the four or five that we came up with FRONTIER was definitely the best. The drawing style was based on a style that I was using at the time for the concept art I was producing for a computer game. It seemed like a good fit so I ran with it. I wanted to get a more ‘hand drawn’ look. The series was then collected as a graphic novel by PrintMedia publications and I think it really stands up well. We do have plans for book two but that has to take a bit of a back seat as we both have other commitments. HORIZON is a labour of love and something that I am very passionate about. In many ways it is a culmination of everything that I have experienced over the the last 53 years. The art style is not dissimilar to Frontier and it feels like a very natural visual expression. This is the first book I have ever written and draws from some of the deeper (sometimes darker) places of me and is expressed in a way that utilises the Personal Development and Dream Interpretation training I have had. I have big plans for HORIZON. The third of the three books is currently underway and will be available at the ThoughtBubble convention in Leeds in November. After that the full story work will be available as a collected work at the end of the year. Something else that I am planning with HORIZON is to use it as the basis of a seminar that goes through the book and pickes out all of the parts of the narrative that are designed to empower the reader.
How long can say just one page of work take to do, and can you tell us a bit about the steps in this process? The format of US comic books dictates that an artist needs to be able to do a page per day. Over the years I have increased the speed that I do them and sometimes two is possible but usually, one page per day. It is sometimes tempting to do more to increase your income but the danger of compromising the quality of the work is not worth taking. I have done that in the past and it will come back to bite you. Production processes have changed a lot over the years with computers etc but the basic drawing is still the same. A few years ago I worked in an animation studio and that had me change a number of things. Where I used to do a thumbnail sketch, then draw out the artwork on a sheet of A3 Bristol Board I now do a thumbnail sketch, then sketch the full size page onto a sheet of 15 field animation paper. This goes onto the lightbox with a second sheet over the top where I ‘trace’ ;-) over it in pencil with tighter lines. Inking has given way to scanning into Photoshop and tightening up the contrast and then cleaning up in the computer. This is a far more organic process for me and one that I will use more.
How did the idea come about for the Draw the World Together charity, and what's this whole project been like for you so far? DtWT came about as the result of one of the Personal Development courses that I was on. Part of the course involved creating a project that needed to be managed over a three month period. My idea was to have an auction on eBay of work donated by artists. The results were amazing and from there it grew into the concept of groups of artists appearing at Comic Cons and sketching for charity. We had a good relationship with the computer games company NC Soft. They covered all our expenses so that artists were not out of pocket. For them the gathered artists were a great draw to their stand at the conventions. Things have quietened down for DtWT at the moment but we are looking at new ways of raising funds for our chosen charity. Some of that is collections, sketches, auctions etc. There are so many young people who are not able to enjoy popular culture the way we have and do and we try to do something to improve their experience of life.
How excited are you to be a part of this years London Film & Comic Con? LFCC Winter should be great. The whole Transformers team are getting together to not only mark and celebrate the end of the original comic series but also to celebrate 30 years of Transformers. who would have thought, eh?
What else can we expect to see from Andrew Wildman in 2014? a few things going on. I am working mostly in TV which is currently; Production Designer on a new Kids show called ‘Ruff-Ruff, Tweet & Dave’ which will air early next year. Storyboards for a BBC crime drama called THE INTERCEPTOR Storyboards for a BBC show called OAKFIELD. I have a couple of TV shows optioned and we are hoping for those to go into production at the end of the year. I will be completing HORIZON and have big plans for it and if all goes well I will start work on a new self penned project.
You also worked with the BBC on the storyboard process for Doctor Who, so what do you enjoy about creating storyboards, and what was it like to do this for such an iconic character? The Doctor Who work has been great fun. It came about as a result of having worked on THE FADES, a BBC3 horror show. The director on that got commissioned to do DW and he got me on board. As a result of that I did three Christmas specials, most of Season 7 and some of the 50th Anniversary Special. I love storyboarding and I love storyboarding for Doctor Who especially. It is a show that I grew up with - yes, I am old enough to remember the first Doctor - and to finally be a part of it is a great privilege.
So reflecting back on Mammothfest 2010, how do you think it went both personally as a promoter and from a festival attendees point of view? Ah, haha straight in with the silver bullet! To be honest this is THE question I have asked myself most. As a promoter and a business man I lost some money so you could say it did not go as well as I would have liked. However, most festivals are expected to lose money in the first year and considering I went up against Ozzfest (and their incredible line up) and delivered a ÂŁ35k event with all the bands I had; I can now reflect very positively on the overall experience. Naturally I still have a lot to learn however, from a feedback perspective I repeatedly hear that it was and remains still one of the best metal event they have ever been too!? It was so radical for Brighton, Entombed, Orange Goblin, Sylosis, Malefice and 24 other amazing bands from as far as Denmark and Sweden in one day in a civic hall; it had all the hall marks (I am told) of being an epic event! Its those comments I try to remember when looking back now. I am very humble about it all.
What made you decide to start your own festival in the first place? Umm, gap in the market and a high demand for a metal festival in the south, being sick of going so far north to attend metal festivals, seeing a buzzing metal scene in Brighton yet with nothing substantial we can call our own in our beautiful city? Also my own personal desire to be my own boss in something I am so passionate about such as in the metal industry with my experience in promoting meant this was something I simply had to do, and why not, we need something like this down south and I know I can do it!
What have you learnt as a promoter/festival organiser from last time and how do you think this will affect your approach for MammothFest 2014? I have learnt so much but if there was one thing more important than anything else it is that just doing one event then folding is not good for the scene. The hype followed by the disappointment there may not be another one was not positive for the future of our local bands and venues and the scene as a whole. Building the business and ensuring we can continue to build with momentum is key. It plays a part in inspiring new musicians and creates hope and a realisation that local bands ARE good enough to play festivals. Overall, for me this is where tough financial decisions need to be made to ensure the long term future of Mammothfest is considered but I do so in the interest of growth and sustainability.
What made you decide to come back now for round two of the festival? Honestly? The passing of my best friend to cancer in Dec 2013. Ricky was my bro, a man who spent many an hour listening to me banging on about this idea, a metal festival in Brighton. He was my main inspiration and voice of confidence behind the original event so when he passed I realised just how short life could be and therefore how important it is that I step up and make things happen, for him as much as for anyone else here, because we just don't know when it may be too late. Fuck it, its only money and there is nothing better than bringing some kick ass bands to Brighton, helping local bands, creating a healthy buzz and also to prove to myself that I have got what it takes to deliver again despite the financial loss I experienced in 2010.
What do you think were the biggest impacts on the festival in terms of what could have gone better or what went wrong? You must have a lot of passion and drive to come back again despite financial knocks you must have taken? The worst thing was going up against Ozzfest (sponsored by Metal Hammer mag. no less! when not knowing they were even competition until they announced their event in June 2010 (3 months before Mammothfest) at the Metal hammer golden globe awards. I spent ages checking my event date to ensure I did not clash with another event so to learn of this with so little time was catastrophic news. If i pulled out I stood to lose a significant amount anyway, not to mention my reputation and letting so many people down, but then I had great support and a great line up so giving it great consideration I thought it would be a reasonable risk to take the event forward. Had it not been for the Ozzfest then I am confident we would have been on year four by now but that's life. We must dust ourselves off and move forward using the knowledge we gained in our experiences or it all becomes for nothing.
Following on from that what would you say were the biggest highlights and successes? The biggest highlight for me was simply achieving putting the event on but there are so many positives that came from it all. It took a year and half nearly to plan. It was so tough sometimes. Getting so many incredible bands together in an event at this capacity, all playing a Brighton metal festival is undoubtedly one of my most proud achievements but also something Brighton metallers and Brighton can be proud of. Seeing so many people at Hove town hall losing their marbles to such wicked metal bands, it was all a very unreal and special day. Life for me is about setting a dream and making it happen.
How hard was the process of organizing and promoting the the last festival and how prepared are you for the work ahead? Starting a new business of this nature/size is incredibly challenging. I completely under estimated just how "Mammoth" a task this would be first time round. It literally nearly killed me and put a huge strain on my family and closest friends for easily over four years, all things considered. Now I know what to do and have very particular systems in place to manage the business better so I feel at much greater ease this time round. It is always hardest first time round but like anything it gets easier as you do it more.
What can attending festival goers expect this time round? This year I have opted for a 2 day event in the mighty Green door store in Brighton, right underneath Brighton train station so it is easy for all to access whether coming by train or bus. My plan is to provide a savage and diverse line up of 22 bands at a very reasonable price so it is affordable to all. I will be showcasing a few of the best unsigned bands from the south along with some very well established UK acts that are destroying stages all over the world at the moment. Needless to say the people have spoken and I have managed to get a lot of the bands they requested so I am extremely excited about the announcements I will be making this year.
Do you have a scheduled plan of events leading up to the festival? Such as line-up announcements and if so can you give us any dates or hints? Indeed I can confirm Martyr Defiled, Savage Messiah, Meta-stasis and Ingested are my top four bands and the event will be held on Saturday 30th and Sunday 31st August 2014. But I still have another incredible 18 bands to announce, 2 every Monday afternoon leading right up to the event so I recommend everyone goes to our website www.mammothmetalfestival.co.uk and adds themselves on our Mammothfest facebook page for further details and regular updates. Doors will be open at 2pm until 10.30pm both days so people can get the last trains home while still filling their metal studded boots.
What do you think the return of Mammothfest will do for the music scene in Brighton, as well as the presence within the South East of England, considering there isn't a lot of festivals (particularly within the rock/metal genre) down this way? The interest in Mammothfest was significant from the moment I announced this years event. I have had so many messages of support and appreciation that the event is back that I cant help but feel this event is exactly what we need in the south. Why travel all the way to the few festivals we have up north when we can have our own? Now is the time to make this happen. With over 100 bands from all over the UK and a few from Europe show their interest in playing the event I have a great opportunity to hand select am incredible line up that can deliver an outstanding weekend of metal. I am hoping the 2 day event will bring together our UK wide rock and metal community and hope it will reignite passions and give the south another chance at reestablishing our very own metal festival.
How are you hoping to shape the festival overtime? I want to again shine a light on the amazing local bands while bringing the best bands in the world to Brighton.This year is all about reestablishing the Mammothfest brand again with a limited budget. If all goes to plan then I will be reinvesting the small amount of profit (yep I will not be taking any of the profits for myself for a few years at least) and already have 2 very closely located venues penciled in for 2015 over 2 days so i can expand to around 40 bands on 2 stages per day. My intention is to keep steadily growing the business/capacity while reinvesting all the profits until Mammothfest becomes I hope, one day, a huge outdoor metal festival one day near to Brighton. Bloodstock started off as an indoor venue and within about 10 years has grown to be one of the biggest metal festivals in the country hosting the biggest bands from around the world. I am ambitious whilst realistic so while it would be a dream come true to build Mammothfest up to such a size I am humbled by the support already in place and will simply enjoy each year with a sensible "one step at a time approach" and see what happens. All I hope is that whether people are in a band or not, if you want to one day play at Mammothfest then come support us now. The more the scene comes together the more i can do for the scene.
Have you got any advice for anyone who is thinking of starting their own festival? Yes, don't do it unless you are literally bonkers...Nah, in all seriousness it is an incredibly challenging thing to run such big events, it takes so many hours of commitment, but it can be very rewarding so start small, grow the business up and never exposure yourself to too much financial risk. The drop on a ÂŁ35,000 event if it all goes wrong is far greater than a safer smaller event so play it safe. Get a feel for the market and always put on events you feel you can sell out.Check competition to ensure there is no clashes on dates! If you do profit then you can reinvest while growing a little and be happy with this rather than greedy. Stability is key. If anyone is genuinely interested in building up larger events then I am happy to help so get in touch with me because I want to see people succeed and will do all i can. I certainly know what can go wrong now and therefore what to do to succeed. Just don't drop your event on the same day as mine (no offence Ozzy!)
Lastly have you got anything you want to add about the mighty return of MammothFest 2014? Mammothfest may not be "Download or Sonisphere" this year but one day it could be. This is up to you, the reader, yes you. hi. If the support is there and you show your demand for our very own metal festival in Brighton in the south then not only are you supporting incredible bands you are investing in the future of our metal scene and if you are in a rock/metal band then maybe it will be you playing one day? I find it so frustrating when everyone relies on everyone else to make the effort and so no one does anything. It is time for everyone to get off their lazy asses and unite in support for our own southern metal festival. Band members, you may not be playing this year but come along to the event, bring me your demos, EPs, Albums etc, meet me, support the bands and it could be you playing next year. Also, there will be a wicked club night on Saturday night too so the party will go on late so what better way to make a weekend of it in Brighton!? Sleep on the beach and come back Sunday for round two! You can follow the event by simply looking up "Mammothfest 2014" on Facebook and adding the event to your calendar. This is where all the announcements will be made first so drop in and say hi! Very limited early bird weekend tickets will be available for £15 early in May otherwise weekend tickets will be £18 and Day tickets are £10 each MOTD and with an expect capacity crowd it is recommended you get in early to avoid disappointment! I am so appreciative of all the support and look forward to hosting this years event with absolute pride.
Gameface - Now Is What Matters Now So you haven't released an album for a whole decade, things are bound to change, I bet when Gameface first started making music together they'd never imagine they'd put their music anywhere for free, let alone just pretty much hand over a whole album for passive listeners to see if maybe they like it. Their brand new album Now Is What Matters Now is now streaming now. It's a classic rock and indie album and it's clear to see these are a band that have been around for a while. They know what people like and they give it to them. I find the problem with a lot of indie rock bands these days is that a lot of songs sound the same, to the point you can't tell when one song ended and the next one begins. Gameface's songs are very different and all have a unique quality to them. From the start Come on Down which is very hard hitting through to My Troubled Half which takes a bit of a softer approach to the music before the amazing encore. The lyrics throughout are compelling and thought provoking which is what makes this band appealing to a lot of people. Their sound is something reminiscent of Foo Fighters and they show what they are capable of with this new album. After rumours of this bands demise this certainly brings them back with a bang, though I did not know of them before I certainly do after listening to this awesome album. RO
Morain - Worlds Apart Morain prove that soft melodic rock doesn't need to be mundane and boring (take note Elbow). Their new EP Worlds Apart cement them as a band to definitely look out for in the future. Their anthem like songs belong on big stages and festivals across the globe. The build on the first song Who Would Have Known is something reminiscent of indie stars Interpol but with a softer, smoother voice. The instruments blend together in perfect harmony and create a brilliant sing along experience that a lot of music lovers would adore. Moving onto Strangers and taking it up another notch these rockers prove they're not done yet and provide us with another sing along anthem for the masses. The guitar really comes out in this song and shows the skill that this band do indeed possess. Rock anthems take a back seat while Fighting With The Devil does what it does. The lyrics are beautiful and clever. A lot of people could interpret this song in many different ways and could help a lot of people through tough times in their life. Featuring the brilliant voice of Hannah Trigwell it will definitely become a regular on my tracklist and anyone else who may be a fan of soft songs. In under four minutes it seems that Morain just let themselves go on the last song Alive and create something truly awesome! A massive blend of instruments creates a brilliantly complex sound and would get any indie rock fan jumping out of their seat. The drum beat all the way through is just awesome and combined with the amazing guitar work this song is one of the aforementioned anthems that would get a lot of crowds going. Morain's new EP New Worlds is only fifteen minutes in length however it has quickly become a favourite of mine in 2014. Why this band aren't signed is a mystery to me because the world will love them. The brilliant vocals and incredible instrument work makes this band big hitters in the future. RO
Bear Trade - Blood and Sand Punk rockers from North East England release their debut full length bringing back British Punk how it should be done!? Opener, 'Another One For List' is short intro song which gives us a brief glimpse of their sound.. 'Bleedin Heart Trouble' opens on catchy mainstream riffs, and boasts mudane honest lyrics which focus on reality which is quite refreshing. This is catchy yet raw punk, with their northern accents really adding to their punk edge and making a highly memorable song, although the lyrics aren't particualarly positive, the instruments remain so! 'If Stoic Were Normal' opens on comical funny talking setting the scene for song which quickly errupts into fast paced instruments and strong drum beats with stand out vocals which aid instruments brilliantly! 'Anathema' again opens on talking to help give depth and context to what we are about to hear; and in this song we hear superb beats and harmonies that make you want to join in, making this a definite highlight, showing their best abilities! Despite the title, this is one song you certainly won't dislike! 'Nice Boots' has one of the best intros so far grabbing you instantly and keeps it up throughout with its great fast rhythms and some nice bass guitar definition as you would expect in punk, all building up to strong gang vocals to end the song on! Last song, 'Dead Leg' keeps things light hearted sounding but at the same time a bit sinister, nonetheless you still won't resist moving along to its melodies and positive instrumentation. This is honest fun UK punk at its best which is very rock n roll inspired also and is full of hopeful anthems that consist of high energy, modest relatable lyrics and have an uplifting positive feel even if the context isn't! You will enjoy this debut very much and we look forward to their next offering following this! CL
Fairweather - Self-titled Ahh punk rock, is there anything better than disobeying the rules of society and branching out from the One Direction's and Lady Gaga's of the world and listening to something that truly stands for something. That's exactly how I felt when I started listening to Fairweather's self titeld album. With a very Rise Against/Anti Flag I thought these guys sounded awesome but not all good things can last. First song Carte Blanch is a rock and roll rollercoaster ride that ends too quickly, but too much of a good thing can be bad but I kind of wish it had. Even the second song has the same rough punk vocals as the first and you can really get into it. However as the album continues it's clear that these guys have influences from a lot of places but all together it doesn't really work that well. The vocals take a radical turn and mould into a lovechild of Placebo and Offspring while the instruments fall short after the first two awesome songs. It's been eleven years since these guys released their last album and maybe it should have been an EP with the two first songs and then a focus on the more punk sound rather than a pop punk sound as the world has a million and one pop punk bands and quite frankly we're sick of them. It's a shame this album fell short because it had such promise. RO
Real Friends - Maybe This Place Is The Same and We're Just Changing Real Friends have been hitting great heights internationally lately and they are now establishing their selves as a top player in the pop punk scene with the timely release of their debut album; 'Maybe This Place Is the same and we're Just Changing'. The album kicks off with a brief intro and kicks into life straight away with 'I Don't Love You Anymore' - what I notice straight away in this song is the extra bite on the vocals which provides a great raw sound to accompany flowing guitar riffs and upbeat drum beats. I can already draw comparisons to the likes of The Wonder Years with this number, an entertaining opening. 'Cover You Up' is a typical Real Friends song with the reoccurring theme of heartbreak and emotional feelings. Again I am impressed with the powerful vocals and the wonderful chemistry it shares with the instrumentals. 'Old Book' is slightly more peaceful number and gives you an insight into the softer influences that the band share, quite similar to the recent works of Fireworks and Transit, it's a nice minute and a half of musical versatility which is always welcome. Next track 'Summer' is superb - the vocals scream out emotion and are again very impressive. A mixture of different guitar riffs makes the track very catchy. Although the track is titled 'Summer' the main hook of the song is 'I'll get through the winter without you' - again connecting to those fans who may share similar heartbreak or tough times after relationships which was a reason why their previous works have proven so popular with fans. Fans should already be familiar with 'Loose Ends' which was released before the album release. Unfortunately it's not one of my favourite tracks on the album; in parts I find the vocals to be a bit whiny and lacking control, what is good is the additional vocals towards the end of the track which brings a hardcore punk element to the song. It seemed to go down very well on their recent UK tour when they played it live so I'm sure it will continue to be a favourite with their fans. 'Short Song' is another brief number, the opening sounds very similar to the opening of 'Loose Ends' which is a little confusing - after a promising opening I find the track concludes abruptly after numerous outburst of 'but that's how it's gonna be' - I can imagine though that hook being screamed back to them on upcoming live tours. Next track 'Sixteen' is intriguing, the vocals seem to have a distant sound effect which is different; from the instrumentals I draw comparisons to again Transit and a little bit of Into It. Over It. This is probably one of my favourites on the album a very calming and welcome change to the much heavier instrumentals and prominent vocals. 'Spread Me over Illinois' returns to the fast paced nature of the majority of the album, throughout there is a change of drum patterns and the much more potent guitars, which have been somewhat lacking so far in the album finally has a chance to shine; a much more edgy track with more potency. 'To My Old Self' has a much more indie-like introduction with much softer vocals, again this track shows the growing maturity of the band's sound, also showing that Real Friends aren't just another pop punk band, they like to have a variety which is a good sign for them. A constant drum beat towards the end of the song leads into a vocal explosion which provides a great conclusion to the track. A lyric in 'I Think I'm Moving Forward' backs up my suggestion of more maturity with this band. 'I smile and think about how much I've grown this year' - although the lyric suggests it's a single person's thoughts I believe it reflects the whole attitude of each member of the band. I think this track also suggests the band is moving forward positively and this song sums up the reception and success they've had over the past twelve months. The album comes to a close with '...And We're Just Changing' - this is certainly an uplifting number to end on, the instrumentals seem to have a summery feel to them and the vocals seem just slightly more relaxed and are not as angry as previous. Again I enjoy when the guitars and drums take centre stage and there are not just constant pounding vocals which can always get enough for any punk music fan. Overall I believe there is undoubtedly some progression in this release and should take them on to larger ventures. The album should prove popular in their homeland and overseas. A nice combination of energetic and driving vocals and continuously consistent instrumentals provide a pretty strong album which the band should be delighted to kick off their studio album career. JP
Brigades - Crocodile Tears The South Carolina quintet, Brigades, released their album Crocodile Tears earlier this month. The first track, 'Whipstaff Manor' promises us with an upbeat, happy punk tempo. A track filled with a catchy chorus, a mix of guzzling guitars and heart-pounding drum beats. It's NAME's vocals that give this band their pop-punk key sound that continues throughout the album. 'Traditions' begins with a slow intro and at first you wonder if they're going to dive into a ballad until the guitar riffs hit heavier notes, and the aggressive vocals throw you into a powerful onslaught. Easily their best track and an undeniable song that will get the crowd working up a sweat at every show. Self-titled track 'Crocodile tears' is unfortunately the least compelling song in comparison to the rest, which seems somewhat of an anti-climax to name the album after it. However it's the catchy chorus and the melodies that make this song worthwhile. Overall, Brigades absence of versatility lets them down initially but it's their punching rhythm that makes this album an exciting stepping-stone for the band. Keep an eye on this one. MP
Being as an Ocean - How We Both Wondrously Perish This is the second album from US post-hardcore band Being as an Ocean. The release sees a couple of unfamiliar faces, as Michael McGough joins on Rhythm guitar and clean vocals, and Conor Denis joins on drums. The new album is definitely one that revels in a 'comeback.' The opening track is 'Mediocre Shakespeare.' It's got a good mix of lead vocals and clean vocals, a bit of build and a good rhythm. Although it works as an opening track, it lends itself a little to its title; I wouldn't place it much above mediocre. The second track 'Deaths great black wings scrape the air' however, has a lot more build, power, and overall energy. Although the title seems like a bit of a mouthful it seems to fit really well. There's more of a story in this song, which is echoed in the rhythm and the music. The vocals are also generously mixed which is interesting in a song like this. Stick it round till the end - there's an interesting fade out speech. The title track is a bit different, the opening is particularly interesting, it begins with an electronic sounding loop, adding gradual drums and building more and more before leaving a gap and introducing the riffs. The vocals start spoken word, with 'hopeless' and 'mistaken' rhetoric pretty prominent. They move on to some singing and some screaming, the lyrics still following a similar pattern. It's well done and probably the most interesting of the album, (it also includes a surprisingly catchy chorus..) However it's probably my favourite. Overall the album is what you'd expect from an American post-hard core band. It's got some good instrumentals and some good stories behind it, but if you're going to give it a go, I suggest you do so in the comfort of your own room, don't try whacking it out at a party, you might just kill the mood..EG
Sack The City - Let Me Out single Originally intended as an acoustic side project by vocalist Kyle Wagoner before becoming a full band in 2009, releasing their debut EP in 2012 (Nation Under Ghost) crafting their sound and getting on with building a reputation which, with a quick glance through their Facebook page and seeing some of the bills they are being added to will show a promising future This new single is a fine example of why the name is appearing on a growing number play-lists with big riffs, hard hitting vocals and with a chorus that is instantly singable and will be an infectious sing along moment. The riffs are nicely countered with some striking melodies that add a certain 90's flavour with its obvious grunge influence along with some straight up rock vibes flowing through its soul. This is a band that from this one song has raised an eye brow from the first listen and I wait with interest to hear more and to see where they go from here. AN
Brian Marquis - Blood and Spirits Blood and Spirits is the debut album from Brian Marquis, the former guitarist/vocalist of Therefore I Am, and also the producer of the acoustic basement stage on Warped Tour. The guys got a lot on his plate, but luckily the album hasn't suffered. Marquis seems to channel the progression of Dallas Green and City and Colour, with an acoustic, folky album with little to no backup. 'Drink you up' definitely seems to follow this, when you first switch it on, it sounds like the recording is a bit off vocals are really quite prominent, however as the track plays on and the background harmonies slowly enter, it gets better and better. The track gets even better when the fast and folky guitar is whipped out from nowhere. This alone sets the tone for the whole album The second track follows this example, 'Paralysis by Analysis' continues this theme, and this is where Marquis really highlights his vocal talent. His voice is louder, harder and more rocky, the song is fast paced and a little catchy. The guitar is still fast and folky and really works. It leads on to 'I'm still chasing you' which with the harmonica opening sticks to the folk theme and I'm really liking it. This song is slower and more balladic, a lot more what I was expecting. The album ends with the track 'Breathing in ghosts' which starts with a pretty and delicate acoustic guitar riff. It's got more of a jazzy feel, which is more what the album leads to. It's a nice transition from the folky beginning to the bluesy/jazzy end. The high hat is really what makes the blues come alive in this song, worth listening out for. Overall the album really surprised me in the best possible way. I was expecting another singer-songwriter, acoustic album and instead was given a rock n' roll, rhythm n' blues and folky jazz collaboration. Give it a go, I think you'll be pleasantly surprised too. EG
Coldplay - Ghost Stories It's safe to say that Coldplay are one of the biggest alternative rock bands in the world, from Parachutes to Mylo Xyloto, every record has achieved massive success. Now they are back with the release of their sixth studio album 'Ghost Stories' which most will already know is partly influenced by Chris Martin's relationship/break up with Gwyneth Paltrow. The great thing about Coldplay is that every album is very different, in a unique way, and with Ghost Stories this is no different. Their style has evolved instead of staying the same, and sure some listeners may want bands to put out exactly the same record, but with progression and a refreshing approach to each record can create longevity, and this is what Coldplay have spent their career achieving. The first track 'Always In My Head' is a mesmerizing and perfect start, and like most album openers do, it does a perfect job at capturing how the record will sound overall. With the catchy and somewhat dusty bass line carrying the track this means that we are of course listening to the bands first single from the record 'Magic'. This may be a break up record, but with the fact that Chris Martin and Gwyneth Paltrow have remained friends then you will also find a lot of hope in the lyrics, and with 'Magic' you'll hear Chris make a perfect example of this by singing 'And if you were to ask me, after all that we've been through, ‘Still believe in magic?', Yes, I do.'. 'Midnight' is a track that you'd listen to staring into the night sky, or just on a rainy day, it's very different to the rest of the album but at the same time it creates a nice dynamic. With the vocals going through a vocoder along with the looping it creates an exciting combination that will have you coming back to this track time and time again. 'Oceans' has an older and more 'Parachutes' approach about it, and with its stripped down sound you'll find yourselves hooked from the first note. The track also has layers of A Capella singing and snyth to it, which in our opinion work really well. The bands latest single 'A Sky Full of Stars' is a solid and punchy track, however with its heavy dance atmosphere I felt that it was just a step in the wrong direction for the tone of the album, and sadly this is my least favorite song from Ghost Stories. With an addictive piano melody accompanying strong lyrics 'O' is a great way of rounding out the themes of the album, whilst also bringing ‘Ghost Stories’ full circle. AD
Brody Dalle - Diploid Love The former Distilled front-woman makes her return after a five year absence with her debut solo album, a nine track powerhouse of chaotic, punk infused with a certain quirkiness that makes it something a little different to anything else you'll hear this month. The opening salvo of 'Rat Race' has a slight goth feel with its punchy and slightly distorted bass line driving through it along with some great saxophone rhythms shredding up the chorus. There is a pop feel to it but the aggression and energy pushes it beyond that as Dalle spits out each verse before it takes on a heavier, groovier tone with 'Underworld'. Again the chorus's are what gives it the big knock out blows, they are massive moments amid the dirty riffs that abound throughout in a style that makes some of Michael Monroes more recent recordings leap to mind. 'Don't Mess With Me' would not sound out of place on any dance floor with its catchy and off beat vibe while 'Dressed In Dreams' has that Cult/U2 effect of using delay and distorted bass to great effect allowing the vocal to whirl in the wind showing off Dalle's impressive ability to let emotion caress the air. One of the most impressive moments however comes with the tender tones of 'I don't Need Your Love'. It is a huge departure from the rest of the album, showing a softer side while also being able to convey the sense of the epic with its stand out string section and slowly growing to a crescendo that makes the hairs stand on end. The fact that apart from writing the album herself, she also played most of the instruments you can hear makes it an even more impressive album to hear, add to that a hugely impressive set of guest appearances and you will see what makes her a very unique woman in the male dominated genre. This debut has great elements flowing through it and keeping with her punk background has all the anarchic chaos that you would expect. AN
Bury Tomorrow - Runes This is a big album for Bury Tomorrow, since their 2009 debut they have made themselves one of the leading lights shining on the British metal core scene, growing in reputation with each release along with their ferocious and always crushing live shows. 'Man On Fire' could hardly be a harder hitting statement of intent as they blast and crush their way through the opening minutes and in to the immense 'Shadow, A Creator'. These are skull pounding riffs and the twin vocal attack of Daniel Bates and Jason Cameron are working to great effect while the riffs, grooves and ball busting drum hits grind and punish the listener in to not knowing quite what has hit them. One thing becomes clear with each track is the move away from being metal core and being more melodic, pushing at the more ''listener friendly'' moments to becoming more of a straight up metal band although to anyone (like myself) who doesn't put much stock in the obsession to label the various this is no big deal and will not even be noticed. What is always abundant is the flowing between breakneck guitars and the almost tender melodies, 'The Torch' shows this dynamic subtly before it becomes far more obvious with 'Watcher', its melodic opening is quickly smashed aside and stomped all over with a size 12 boot of brutal interchanges of riffs that includes a very classic sounding rock solo bridging itself between brutality and beauty. If there is one thing to pick at on the album as whole it is the lack of anything different, each song follows a formula and they stick to it. That however is a small nit pick because when something works, why would you change it? This is a big album for Bury Tomorrow and they not only pass the test, they knock it out of the park and the ball is still rising. AN
Distant Signals - Resonance EP Four Piece Progressive Metal Band from Minnesota release their debut instrumental EP.. Light hearted and mundane titled 'Breakfast Toast' like the first thing in the morning is the first track we are treated to, but don't let the fairly humorous name fool you! - this is one seriously cool track that is dynamic, calming, atmospheric, technical and uplifting - certainly a good way to start the day! 'Motion' has a more sinister tone through the effects used, and as the track builds up and develops more with its 'resonant' tones paired with dark heavy outbursts you can easily lose yourself in this moody changeable track... 'Julia' starts with a superb bass intro and overall is much more mellow than previous songs. It is a nice track to reflect on that gradually picks up power creating a massive ethereal sound. Last song and title track 'Resonance' jumps straight in with fast delightful technical guitar riffs and licks to grace your ears throughout and epic guitar solos and instrumentation! The band truly show of their skills in the closing song with soaring melodies that make an impact! Instrumental bands can have a harder time trying to pack a punch and grab people's attention, but in truth it can be harder to solely rely on instruments, as they have to do the talking and portray more emotion and depth, so when bands pull this off, this is quite an achievement! Distant Signals have definitely done so, showing their passion, talent and creativeness throughout! Listen and appreciate good music to sit back and let wash over you! CL
Breathe Carolina - Savages American electronic rock band return with their fourth album which is the first release since Kyle Even left and with David Schmitt taking over the lead vocals.. Opening song, 'Bury Me' will quickly get 'buried' in your head deep with its beats and infectious catchy sound largely influenced by its electronic elements with a small hint of emo pop! Next song 'Bang It Out' is the latest single, which features Karmin and works well with their sound and is simply just the band having pure fun and bringing it in a very pop inspired manner, this has the makings of a summer anthem! 'Sellouts' changes things dramatically making things more diverse featuring Danny Worsnop of Asking Alexandria finally bringing the rock to their sound! A stand out track in my opinion bringing the harder elements to their sound along with cool crazy effects, great lyrics and a huge chorus - a brilliant guest appearance! Title track, 'Savages' features strong beats which build up and keep things pumped in this fun feel good inspiring song! 'Chasing Hearts' which features Issues's vocalist, Tyler Carter is a slower hushed track which again keeps things creative and offers a bit of a breather from full blown manic dance vibes. Again the use of interesting effects which add to atmosphere of song, along with the perfect vocals from Carter and Schmitt which work well together making this is a stand out track! End song, the reflective and honest 'Mistakes' ends things on a weird one with odd random lyrics and electronic sounds which strangely embrace you! Breathe Carolina certainly have created some big tracks which will get your fist pumping, grooving or dancing along to one way or another, even if not to your taste, the band know how to create super catchy hits! The real highlights for me are when then tone it down a little and change things up, keeping things more unpredictable. The band here really do focus highly on the electronic elements more than ever and therefore have a more pop infused sound, with the 'rock' sound lacking at times, but when the other elements come in, they are worth the wait and regardless the band know what they are doing! CL
Steel Panther - All You Can Eat Steel Panther, for me anyway, have always had to be looked at in two ways: 1 – The unbelievable musicianship that is second to none in metal and 2 – Of course, the lyrical content. They have always been the band that have taken the things that Motley Crue, Poison et all always went in a roundabout way with but Steel Panther just go all out in an unflinching, don't give a fuck manner. The opening seconds are perhaps not what you would expect, the atmospheric, Spanish guitars paint a more refined, even mature picture but, its straight back to business with the pulversing 'Pussy Whipped'. The best thing about songs like this one is if you sit back and listen casually it is an awesome, fist pumping metal song in contrast to the no less brilliant 'Party Like Tomorrow Is The End Of The World' but with its far more comedy steeped lyrics. Satchel really starts to tear it up here showing just why he is one of the best players out there and it is one those sure fire stadium anthems. It is straight up Panther metal with 'Gang bang at the Old Folks Home' and 'Ten Strikes You're Out' with the not so subtle blend of smut and mayhem but they move in to slightly unfamiliar territory with 'The Burden of Being Wonderful'. Its strings and melancholic feel make it feel almost heartfelt, we've heard them do ballads before but this one is a new, slightly cheesy, always brilliant sound. The highlight of the album though is the colossal 'Fucking My Heart in the Ass', as you can imagine from the title, it is an expletive laden number but again, it somehow works! It is a riff monster, solid beats and screams singalong! I remember wondering when Feel the Steel was released how long the novelty of this band would last with the heavily comedic elements and tongue in cheek aspect that is exuded but, they have gone from strength to strength and once again have another strong album behind them as the legend of Steel Panther continues to grow and make them a must-see attraction. AN
ACROSSFROMWAIR - Moments Cardiff boys ACROSSFROMWAIR have released this new four track EP moments just in time for summer. It's got dance vibes and some feel good guitar funk, not to mention some playful bass creeping through the EP. The first track 'In Stubbed Colour' has everything you'd want from a chilled out summer track, some charming lyrically strong vocals, complete with a catchy chorus and a funky beat played out on the guitar. The EP moves on to be a bit rockier and punk like with the instruments, but it still continues with the summer feeling, exaggerated with the added use of random percussion instruments. Who doesn't love a cowbell? Lyrically and vocally the EP is very strong. It's got some catchy vocal riffs and lyrics, shows raw vocal talent and is very harmonically strong, especially in 'The great metallic fist'- which also has some great guitar solos. It's a bit ALT-J, a bit Two Door Cinema Club, and quite remnant of the American pop-punk bands that come from across the pond - But it's definitely fun and interesting and sure to make you find yourself dancing around your disposable barbeque from Asda when the sun finally rears its head. EG
Warming up the crowd at the picturesque Forest Stage on Friday for the closing night was award-winning beatboxer, Reeps One. Entertaining us with his ridiculous vocal abilities. Followed by Jaguar skills. Who is guaranteed to play at least one or two of your favourites, amongst the literally hundreds of tracks that he mashes and cuts between within his set. "Where' all my Voodoo People?!" In a forrest deep in the hills of Mayrhofen, the Prodigy were back and had taken the stage once again. With stories of setting off avalanche alarms on their last visit, what did they have in store this time? Well as you can expect, they didn't hold back. Voodoo people ready, the next 90 minutes were set to go off. Then before even possible to, Breathe's infamous riff exhaled through the crowd. Kicking the crowd into another gear, using up what little energy must be left after an eventful week. With Omen next on the setlist, how long would the energy last? The crowd wasn't small by any means, but the setting felt quite intimate, with the surrounding pine trees and mountains. And the log cabin gave Keith and Maxim just enough space to bounce around in trademark manic fashion, in front of Liam's setup. A classic Prodigy set, covering all albums. With all the tracks you expect and want. Except for (in my opinion, the far too overplayed) 'Out of Space', which had become the staple final tune, but was now missing from the encore. Instead Take Me To The Hospital, Their Law, Hyperspeed and Comanche saw them out complete with a few fireworks. AL
Manchester Orchestra - Bristol Thekla - April 7th After achieving huge success with Simple Math the extremely talented Manchester Orchestra are back on the road promoting their highly anticipated new album 'COPE'. They hit the stage and cruise straight into 'Shake It Out' which is a punchy and catchy song that has their fans singing along straight away, a perfect start. They then lead into 'Pensacola' & 'Pale Black Eye' which are both fantastic songs to hear live of 'Simple Math'. Although these guys have suffered a minor line-up change recently it's clear to see tonight that this hasn't slowed them down, Andy Hull hits every note spot on, and the rest of the band are visually putting in 110% throughout the performance. As the set continues we get to hear the track 'Pride' which is a track that is just loud and in your face, but it just works so well on a live bases. The new album is arguably the most heavy/grungy style release that Manchester Orchestra have put out yet, however we mean this in a good way because the hard hitting tracks like 'Cope' & 'Top Notch' give the set a really nice balance and also show us just how creative this band have been since their formation. 'The River' is a track that is just exceptional to watch live, it's dynamic and it just keeps growing throughout the song to keep the audience constantly watching. To make tonight that little bit more awesome Andy even listens to song requests from the audience which sees the act end on the mighty Simple Math, which is as you'd expect, an awesome ending. AD
Alkaline Trio - Bristol Academy - April 25th Their new album 'CULT' is really great, so if you combine this with their older material which is also awesome, then it was safe to say that we were pretty excited to see Bayside take to the stage. Their lead singer Anthony is very engaging with the crowd, as he is always making an effort to get the crowd to sing and interact with every song. With over ten years of material to pick from we get to witness tracks such as 'Blame It on Bad Luck' 'The Walking Wounded' & 'Montauk' which go down really, really well. Mixing in material from 'CULT' the band perform 'Big Cheese' & 'Pigsty' which both get an ecstatic response as fans must of already got involved with the latest release. Visually the band looked extremely happy to be there, and after that set we are certain that they gained themselves a whole lot of new fans. Tonight is all about Alkaline Trio, who are also on the road promoting their amazing new release 'My Shame Is True'. As soon as they start with their anthem 'This Could Be Love' the mosh pits and crowd barging starts straight away, and midway through the song Matt Skiba has everyone singing along full volume to the 'love for fire' bit (Trio fans will know what I mean!). New songs such as 'She Lied To The FBI' & 'I Wanna Be a Warhol' get an amazing response, and from this we are certain that these tracks won't be leaving the bands set list anytime soon. As the night continues the band perform tracks such as 'Time To Waste' 'Stupid Kid' which both get the crowd going absolutely crazy, and then to add to this they also hit us with album favorites such as 'Mr.Chainsaw' & 'Sadie' which may as well of been singles as their fans know every single word. They ended the night perfectly with an encore that featured 'Private Eye' & 'Radio' which are of course classic Alkaline Trio songs. We extremely enjoyed every single song tonight, and with the band putting in as much effort as they do constantly on a live basis, then we strongly recommend that you see them live at some point if you haven't done so already. AD
Blitz Kids - Lincoln The Platform - April 25th Blitz Kids are enjoying some incredible success as of late, garnering brilliant reviews for their latest record, The Good Youth and even very recently performing on national television. We stopped by The Platform in Lincoln as they passed through on their headlining stint along with Fort Hope and I, Divide, boy did it get rowdy. Lincoln isn’t known for its music scene, but the venue itself, The Platform was the perfect place for a show like this. Big enough to fit a large amount of people in, but small enough for the bands to get intimate with the fans. First up we’re I, Divide, hailing from Exeter, although they were delayed by issues getting to the venue, I, Divide jumped straight in with “The Arrival” following incredible harmonies and some solid drumming. By their fourth track in, “I’m Not Leaving” I, Divide have managed to get the crowd going crazy with their brand new single. Leading the start of the night with an impressive stage presence and a highly charismatic performance, I, Divide get the night going with a killer set. Fort Hope we’re the next band up, coming on-stage to a Home Alone based walk-on track bursting straight into an impressive full sound coming from a single guitar band. Playing through a set full of EP tracks and tracks from their new album, New Life, generally pleasing the crowd with a lot of positive talk ringing through the venue.
As the supports chime out and the headliners gear up to play their set, the amount of people within the venue doubled, with that said, Blitz Kids walk on to an incredible response and smash right into an incredible performance of “All I want”. It’s very clear that the guys are humbled by the response that they’re getting from the crowd, Interacting with them at every chance they get and even necking a bunch of Jagerbombs as they power through tracks “Lets Go” and “Soul”. For their first time passing through Lincoln, Blitz Kids put on a stellar show with the crowd dancing and moshing non-stop to every track. Watching Blitz Kids play is just another solidification that the British music scene is the strongest it has ever been in years. GD
Real Friends - Cardiff Clwb Ifor Bach - May 10th You would think the atmosphere would be low with it being an early show, not in this case. A packed Clwb Ifor Bach crowd gathers to view the first band on the stage, Florida's You Blew It! - there doesn't seem to be much enthusiasm in the crowd for the band's first time in Wales. They waste no time at all launching into a couple of songs from their new record 'Keep Doing What You're Doing' recently released by Topshelf Records. The band also throw in some tracks off their debut LP 'Grow Up, Dude' which draw some interaction from the crowd with a couple of fans singing along. Out of nowhere in the middle of the set a mini circle pit forms during 'Pinball House' which is superbly delivered. Despite the standstill of most the crowd, the band produced a solid showcase of their angsty emo influenced and they certainly left the crowd with something to think about. As Philadelphia's Modern Baseball came on to stage, there seemed to be more shuffling in the crowd. A huge movement of bodies began as the band opened up with 'Re-do' which was shouted loudly back at the band by the crowd throughout the song. The first few tracks flew by and the whole set had this basement show sort of atmosphere to it, the faster tracks started an influx of crowd surfers and stage divers even in what seemed a very confined area. The venue suited the band perfectly, a packed crowd singing along must have made the band feel like they were back in Philly playing to a local crowd, it was very interesting to see a band who have not been talked about much in the UK get such a fantastic reception. I'm sure they would have left Cardiff with some great memories and an incentive to return in the future. Finally the Windy City's Real Friends take to the stage facing a crowd ready to tear the place up and ready to break their vocal cords. I remember the band getting a rousing reception when they played Clwb last time and I expected no different and more. What was to follow was to exceed my expectations; an hour of pure emotion and a whole lot of sweat. Straight from the off with the fantastic 'Floorboards' the young girl fans were getting peppered and bruised by dudes diving off speakers and the stage, there were several moments in the set where vocalist Dan Lambton stood back and smiled in amazement at is his own voice being drowned out by a fully charged and hectic crowd. JP
Pure Love - King Tuts Wah Wah Hut, Glasgow - May 8th There is a fairly sizable crowd straight away at Tuts tonight, there is a real buzz in the air and the merch stand is doing healthy business straight away. Opening the evening is Canada's PUP and they manage to win the crowd over with a storming set. The fact is though, no matter how good any opening band is on a night like this, they are not going to be able to match the excitement that is there for Pure Love. They open with 'She' and straight from the first solo, Jim Carroll is straight over the barrier and surfing through the crowd. It is an impressive sight to see someone being passed along a venue and not missing a note, although there is one shaky moment when there is no one else to pass him to and it all nearly ends very quickly! It is easily noticeable just how much Frank and Jim are enjoying themselves, it is as though the pressure of the last couple of years has been lifted from their shoulders and they just want to get on with playing music. Following 'Beach of Diamonds' and the croons of 'Anthems' it is a show mainly played from in the crowd with Frank spending the majority of it there. It is slightly tamer than the last time, there are no 'Juggernauts', no circle pits being led up and round the stairs although there is a 'snail pit'... Frank joked about having to sign a contract following the carnage of their last visit to King Tuts. A slamming version of 'The Power of Love' that had the place jumping precedes the rest of the band in to the pit and smashing through 'Bury My Bones' and 'Riot Song' to bring down another phenomenal showing from Pure Love. So is this is it? It possibly is the final Pure Love tour but all hope is not lost with Franks admission that although he hates the term, 'indefinite hiatus', “that is exactly what it is”. After seeing him with Pure Love before and with Gallows on numerous occasions, it is welcome news because their really isn't a live show quite like the one that Frank and Jim have made. Frank Carter has brought the art of being a front-man back and is arguably the most important front-man of the last ten years. AN
The Wonder Years - Cardiff Uni Great Hall 2 - May 06th Birmingham's Light You Up took to the stage first on a bill packed with pop punk talent. Light You Up are one of only a few UK pop punk bands and they certainly done the UK proud tonight, all members of the band showed excellent energy and chemistry on stage to provide a strong performance, vocalist Tom Napier put a lot of effort in trying to encourage the quiet crowd besides a few fans. With a new album coming out soon, there are certainly positives for this particular band to look forward to. There was more anticipation building before State Champs took to the stage, a band who have seen a meteoric rise in popularity since the brilliant 'The Finer Things' album was released. In fact the whole seven songs in the set list were all from the recent album. For their first ever UK show, the band showed absolutely no nerves and were immediately involved with the crowd with the start. The crowd responded greatly with all seven songs having at least 30-40 fans singing along, the band responded positively and provided an excellent showcase of their own brand of angry and passionate pop punk. The crowd were able to catch their breath before the delivery of the final song 'Elevated' turned the crowd into a pack of wild animals, the band could not have expected so many ferocious fans and numerous crowd surfers making the security guards earn their pay. This tour can only push State Champs on to bigger opportunities in the future and I wish them all the very best. Unfortunately it seemed that the crowd were conserving their energy during Boston's A Loss For Words set who received a mixed reaction throughout, they played a great blend of their last three studio albums and threw a Jackson 5 cover in which took everyone by surprise. It was my first time seeing the band and I personally was not disappointed, I've always enjoyed the soulful vocals of Matty Arsenault and rhythmic instrumentals. The crowd came to some life when Matty demanded a circle pit during 'Stamp of Approval'. A Loss For Words remain one of the most underrated pop punk bands in the american scene, I hope they come back and do a headline show soon to hopefully get a better reaction than this particular night.
Finally, The Wonder Years took to the stage. A band who have gone from headlining Le Pub in Newport to headlining the small CF10 in Cardiff to headlining Clwb Ifor Bach to now headlining the Great Hall 2. The venue seemed pretty full to see them play and there was much excitement amongst new and old fans. I personally thought they played a fantastic set list it had everything ranging from the latest songs like 'Dismantling Summer' and 'Passing Through A Screen Door' - back to the superb Suburbia with tracks such as 'Came out Swinging' and 'Local Man Ruins Everything' and then back all the way to The Upsides with 'Melrose Diner' and even 'Dynamite Shovel'. Soupy was his usual emotional self describing stories between songs and informing the crowd that they had travelled 20 straight hours from Germany, they showed no sign and fatigue and connected superbly with the crowd. One particular highlight for me was the spectacular sing along provided by the track 'Devil In My Bloodstream' the whole crowd seemed to be in perfect harmony which echoed joy and passion across the venue. It had to be the most powerful and emotive moments of the night with aggressive and controlled vocals and an excellent keyboard solo from Nick Steinborn. The Wonder Years remain kings of the pop punk genre in my opinion, it's great to see them taking younger US bands on tour with them like State Champs to help the scene grow worldwide. The Wonder Years are definitely on the path to enjoying the same success as previous pop punk bands have in the last fifteen or so years. JP
Iron Chich - Bristol Exchange - May 8th So it's the 8th of May, my first time in the exchange and more importantly first time seeing iron chic! A band that I have listened to consistently for two years straight! So my first time in the exchange it's like any of my favourite gig venues it's small, it's dark and it has a pleasant aroma of beer which reminds me I'm here to watch some awesome bands and have a fun night! First up was Grand pop and admittedly we only saw two songs due to finding a parking spot but the two songs I heard reminded me of the get up kids era emo pop! Which was nice to see back in the world of live music. Next up was bear trade and I have listened to everything this band has released and I am excited to see them live. Playing some old favourites (pride makes for a rotten companion) and a ton of new ones from their recently released album blood and sand you can see why these guys are touring with iron chic as they are basically the northern English equivalent of the band! After bear trade comes the brilliant woahnows and they came who played us that excellent math emo punk that I've seen a few times live before already. The new single "watching accidents" was amazing to see and their set was full of energy! For a three piece musically this band are amazing! So finally the night brings the main attraction and on comes the Long Island punks (who consist of former members latterman and small arms dealers) and they open up with one of their most popular songs "cutesy monster man" with one of my favourite first lines in any song "I want to smash my face into that goddamn radio!" Which was met by the room singing along! Playing the night with a mixture of old and new songs the band keep the crowd screaming their lungs out to every song! The last song was perfectly chosen which was "time keeps slipping into the cosmic future" which had such a strong end with the lyrics that basically had everyone in the room chanting it! Although there were a few tense moments in the crowd it was an all round brilliant night! JM
Here we are once again at the incredible Hit The Deck Festival. This is an event that has had a huge response over the last couple of years, and now in 2014 they have kept the momentum up by having the mighty Brand New top the bill! We head straight to the upstairs of the Academy (AKA Academy 2) and check out The St Pierre Snake Invasion. We see the lead singer placing his mic stand right in the middle of the crowd to make sure that he grabs everyone attention from the get go, and in short he does not fail! The band had a really unique sound, but if we had to compare it to anything then it would probably be a rockier version of Million Dead, which is in no way a bad thing. By the end of the set the room was packed out, and the band seemed somewhat overwhelmed, however if they keep putting on performances like this, then this is something they will just have to get used to. After spending some time in the studio working on the next album, it really is great to witness The Xcerts taking on the touring circuit once more! As the second act on they do an ace job of making sure that everyone is simply memorized by their set. Their set consists of classics such as 'Do You Feel Safe' & 'Scatterbrain' which remind us just why we fell in love with this band in the first place. They finish with probably their most well known track to date 'Slackerpop' which is a perfect song to end on, as it always leaves you wanting more from The Xcerts. Bring on the new album and tour dates we say. As they instantly fit in with the days event you'd be surprised to know that Hands Like Houses are actually based half a world away in Australia! They put in a fantastic effort and get the crowd moving right from the start of their set, with tracks like 'Shapeshifters' & 'Introduced Species' the band just show that they already have enough material to put on an awesome show. Their lead singer Trenton Woodley is constantly interacting with the crowd, and just giving it everything he has. Certainly a band that you will need to watch out for over the next couple of years. We see the first full on mosh pits and circle pits of the day get into full swing as Dinosaur Pile-Up fill the atmosphere with their tasty style of old school alternative rock. Blazing through tracks from both 'Growing Pains' and 'Nature Nurture' the band barely stop for air, and just do their absolute best to make sure that everyone in the crowd is captivated by their sound. The whole set was a highlight for us, but if we had to pick, then our standout tracks would be 'White T-Shirt and Jeans' & 'Nature Nurture'!
Last year The Front Bottoms were the first band on at the Thekla and now they are taking us into the evening on the main stage! After the release of their last album 'Talon of the Hawk' combined with their past material, then this progression is easily more than deserved. With the lead singer playing acoustic guitar then you'll find that this band always has a great atmosphere live, as you can always hear the crowd singing along to every track. Songs such as 'Maps' & 'Twin Size Mattress' go down an absolute storm, and basically we can't see what's next for these guys.
The Thekla is maxed out about ten minutes before Kids In Glass Houses play, and rightfully so, as the band confirm that this is the last time the band will ever play in Bristol! The crowd are basically jumping, moshing, and just going all out crazy for every track as the Thekla just turns into an instant sweatbox. The band spoil us with older anthems such as 'Easy Tiger' 'Give Me What I Want' 'Saturday' 'Matters At All' 'Youngblood' which all simply show us why this band have had so much recognition and success since their formation. What's really annoying is that tracks from their newest album 'Peace' such as 'Drive' and 'Peace' also get the crowd going absolutely crazy, but I guess the band are just opting out of their career like how they perform live, which is by always leaving their fans wanting more, and tonight this talented bunch have achieved that with ease. We are back at the main stage in the academy now for Saves The Day who are currently on the road promoting their latest self-titled release (which is great by the way). They give us a fantastic set which features songs such as 'Freakish' 'Anywhere With You' 'At Your Funeral' which all remind us why the band have got themselves second to Brand New. When bands play new material you'll sometimes see people on their phones, or just not really paying attention. However with Saves The Day this was not the case, and tracks like 'Xenophobic Blind Left Hook' & 'The Tide of Our Times' had the crowd absorbing every note, brilliant. It's hard to believe that it's nearly been five years since Brand New released their last studio album 'Daisy' however with the material they already have they have built themselves an extremely dedicated fanbase which will always see the band achieving sell out tours across the globe no matter how long it takes to bring out some new material. Getting everyone's attention from the first note the band blast straight into Wish (which we just want to clarify is a Nine Inch Nails cover and not a new song). The band continue by giving us a perfect mix of all four albums to date, and for any Brand New fan, then this really is a delight to watch. The band confirm that they are really happy to be in Bristol and the UK and they say it feels like home, and visually you can see that these guys are in their comfort zone here tonight as they put on such a tight performance as the set continues. From mass sing alongs like 'Okay I Believe You, but My Tommy Gun Don't' 'At the Bottom' 'Mix Tape' to the songs that create a stunning and electric atmosphere like 'Milestone' 'Degausser' 'You Stole', these guys just have it all and prove to the audience again and again why they are more than worthy of a headline slot. They send the crowd into another frenzy with their final track 'You Won't Know' which closes with Jesse singing 'You Won't Know' over and over through the mic, a perfect track to end an outstanding day. AD
Slam Dunk is back! Yes the weekend and bank holiday Monday was playing host to the day festival in three different places but Hatfield certainly got the best weather. Opening up the main stage are 2014 big hitters Blitz Kids, off the back of their incredible debut album and UK Tour and what a show! Their blend of British Rock has captured many and after their performance I imagine a lot of people left ready to do more research into this incredible band. All I Want and Run For Cover were hard hitters and opened the festival in style. Over to the Monster Energy stage next for I Killed The Prom Queen, they came out and really brought the energy and it was only when the lead singer said 'We are Chunk, No Captain Chunk' that I realised there was a problem with the schedule. However these French pop punk dudes put on an amazing show and the vocals were nothing short of incredible. Definitely one to look out for in future. Back over to the Main stage for a complete juxtaposition to Chunk, No Captain Chunk. Ska heroes The Skints were up next and put a nice relaxing spin on the day. They had a big crowd and knew how to engage them. Though there were no pits or circles this crew put on a great show.
Over on the Macbeth footwear stage Gnarwolves were marking their territory as it were and destroying it, metaphorically obviously. Their style of 'gruff' pop punk was just what the doctor had ordered, circle pits erupting everywhere in the crowd. For a band with only three people they really create an amazing sound! It was also brilliant to see a whole crowd sing happy birthday to the guitarist. Up next American Ska legends Zebrahead (pronounced as Zeebrahead). You can see the energy radiating off each and every member but something is falling short in the first song Sirens and it's only when the lead singer announces that the guitarist and vocalist is ill that it all makes sense. However their energy is still at an all time high and they put on a great performance. The audience gave all the energy they could back as well by creating 'the biggest circle pit this stage has ever seen'. Zebrahead carry on with their usual gimmicks of bringing German's out to drink with them and getting people on stage to share a drink but ultimately this performance was awesome! Rescue Me and Hello Tomorrow were crowd favourites. Tearing up the main stage at the exact same time (clashes suck!) are Motion City Soundtrack and if you left Zebrahead halfway through you'd be able to catch Justin Pierre and co giving you a taste of their back catalogue including My Favourite Accident and Everything is Alright. The stage presence is nothing short of amazing and they know how to work an audience. Getting through the day and the weather is scorching, the acts are amazing and if you're lucky you've even seen a few of your favourite bands walking around. In This Diary by The Ataris talks about breaking into motel pools and doing crazy stuff while you're 'growing up' but by the looks of them it looks like the craziest they'd get would be cheating in scrabble on the tour bus while sipping hot chocolate. Despite looking old they still come out and play brilliantly, their stage presence may be non existent but when your songs don't really require jumping and bouncing it's okay. Next door in the tiny tiny Cheer Up stage people were waiting anxiously for The Red Jumpsuit Apparatus (weirdest name ever) and I can't be the only one who was surprised by their great performance. Face Down was obviously the massive hit of the set but their quite emotional song Misery Loves Company went down amazingly as well. Words cannot do justice to Letlive.'s performance on the Monster Energy stage. The set was just incredible and though most of the spotlight does deservedly go on Jason Butler the rest of the band most certainly had their part to play. 'If you know the words to this song come and grab this mic' he said before Day 54 as he threw the microphone into the crowd and allowed hungry fans to grab it and test their vocal chords. The set ended with Renegade 86' with the words 'we've been Letlive. and now so are you'. A sad event is happening this year, Welsh rockers Kids in Glass Houses are calling it a day. After successful albums and a career spanning eleven years they've decided that enough is enough and to go out with a bang they decided to play their debut (and some would call their best) album Smart Casual. I'm not going to list the whole album but I'll just say it was a storming set, a packed out room and you could definitely feel a little bit of sadness from all of them. These are a talented bunch of guys and I for one am genuinely sad to see them go.
The All-American Rejects are up next! Instead of elequant and clear like on the records he sings with a twang, mashes words together and puts new lyrics into their songs. I know that some bands can sound different to the record but this just sounded terrible. Dirty Little Secret will forever be ruined and Gives You Hell would have sounded just as bad had the audience not quite frankly saved them. This was a disappointing end to an incredible day and I still don't know why they were chosen as a headliner. Never again Slam Dunk...never again. RO