WHITE NOISE ZINE - ISSUE 5

Issue 5 // Feb 2016

BURY TOMORROW HIT THE GROUND RUNNING

+ The Millenium + The Weekend Riot + THE Story's End + More!

White Noise (noun) - A steady, unobtrusive sound, as an electronically produced drone or the sound of rain, used to mask or obliterate unwanted sounds.

Co-Founder - Photographer Crisanne Glasser Co-Founder - Editor in Chief Danielle Gittleman Contributing Writers Tori Pisco, Nicole Cortese, Layne Edwards, Melissa Thayer, Casey Wolfe, Julia Corrigan, Gianluca D’Elia, Danielle Gittleman, and Kasey Seifried Contributing Photographers Sheri Berman, Alyssa Kromelis, Crisanne Glasser, and Sam Polonsky

Thank You The Millenium, The Weekend Riot, Bury Tomorrow, Textures, The Insurrectionists, The Hip Abduction, Maple Hill, Rosedale, Keys & Corridors, The Story’s End, Worth Taking, Sleepwalker, Effective Immediately PR, Nuclear Blast Records, Carry The 4 We would also like to thank everyone who had a hand in making this magazine possible and for all of the continuous support over the last few months. We couldn’t do any of this without you guys!

Website: http://whitenoisezine.com // Twitter: @whitenoisezine // Facebook: http://facebook.com/whitenoisezine We are currently in the process of expanding our team. If you would like to become part of White Noise, please reach out to either crissy@whitenoisezine.com or danielle@whitenoisezine.com.

CONTENTS The Millenium

4

Worth Taking

8

The Story’s End

12

The Weekend Riot

16

Bury Tomorrow

20

The Insurrectionists

24

Sleepwalker

28

The Hip Abduction

30

Album Reviews

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THE MILLENIUM making waves in the pop-punk world Words by Layne Edwards // Photos courtesy of The Catalyst Publicity Group 4 http://whitenoisezine.com

You

may have heard their names before, but you’ve never heard their voices quite like this. Kyle Culver and Matt Hasenmueller previously of The Last Semester, have teamed up with former member of The Picture Perfect, Kyle Featherstone, to create The Millenium. The trio is picking up milestones left and right with the release of their new single, “Stay.”

The band came out swinging in Wisconsin, landing their first show opening for The Summer Set. Since then the band has been touring across North America with their first EP, It’s So Much Friendlier With Two.

Uniquely self-branded as “Titanic Pop,” this group has declared themselves as a “pop band in a punk world.” Bringing different interests and backgrounds into effect, the band manages to rope in different genres across the board. Featherstone gave us a little inside on where the band personally pulls their musical personality.

“The local music scene has had a profound impact on what I aspire to be,” said Featherstone. “Coming from a town which has produced a few grammy winners, notably one of my favorite bands — Bon Iver — a very reputable indie scene, and a community in which the arts can flourish, to me it’s a very motivational place to live. I can speak for the other members in saying that we all come from a very different musical background, and so the way in which we have coalesced as a band and bringing those elements to the table has been very cool.”

With such a strong sound and a different self-branded genre of “Titanic Pop,” it’s easy to how these frontrunners are able to stand out from the crowd of other bands in their scene.

“When we started the band — and it still kind of holds true now — we have always considered ourselves a high energy rock outfit, primarily centered around acoustic guitar,” explained Featherstone. “If you simply saw our stage set up, you wouldn’t guess that we’d be offering as much angsty and raw energy as our instruments give way.”

The band has grown immensely over the last two years and it all started with their first show opening for The Summer Set in their hometown of Eau Claire, Wisconsin. “It was an absolute incredible experience to share our first show with a few hundred people in the city we all love so dearly. Gotta love college towns,” said Featherstone.

Since the band has toured with bands like Hollywood Ending and Late Night Reading, not only have they gotten the chance to meet new bands and tour the country, but they were also given the opportunity to have their newest single, “Stay,” on this year’s Keep A Breast, Music for Hope compilation. The band is being featured alongside many big names such as Cartel, and the guys couldn’t be happier to be apart of such a big movement.

“One of the most rewarding parts of music is it becomes a foundation and platform for real, tangible change in the community,” explained Featherstone. “And now with the prevalence of social media, can be quite the catalyst for some real good in the world. We’re honored.”

Another big opportunity for the band came about in the form of big music news source Alternative Press. The Millenniums new music video for their latest single, “Stay,” aired exclusively on AP’s website. But the guys aren’t letting any of the recent attention get to them, “Even as we find ourselves on some very cool publications, we always find it important to keep our head down and continue to be relentless with our pursuit,” said Featherstone.

With their heads down working in the studio there is a lot more that we can expect to see from The Millenium. “We made a trip up near Canada to write in a cabin for a week at the waning end of summer,” said Featherstone. “While tour has been our primary focus for the last bits of 2015, early 2016 will be geared all to writing. We’re really excited about the theme and direction.”

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Worth Taking MAKING MUSIC WITH A MESSAGE Words by Tori Pisco // Photos courtesy of Worth Taking

E

W

orth Taking’s first release was a 2011 EP written and fully recorded by the creator of it all, Jerod McBrayer. Since then, the band has grown to include Chris Self (formerly of a band called Fetish) and drummer, Chase Kossack, making the current lineup that is San Francisco’s (originally Atlanta’s) Jimmy-EatWorld-influenced and pop-punkinspired band, Worth Taking.

Set for a February 12, 2016 release, the band’s second LP, Hangman, features a quite pleasant and uplifting feel considering the intensity of its message.

The album was written with a unique twist — each song representing one of the twelve steps to addiction recovery, an approach known primarily for its use among Alcoholics Anonymous (AA) groups. “Bold as it may be, I would wonder if anyone is not affected by these issues.” said McBrayer. “Whether you are addicted to alcohol, sex, or negativity, I believe we all struggle in our own way. Further, even the more specific struggles — alcoholism, for example — have their own levels of severity and complexity.”

Having been in the music business for twelve years now himself, McBrayer was introduced to Kossack while producing for Kossack’s

previous band. Taking to the producer seat once more, he and the band self-produced Hangman, maintaining control over their vision and crafting the album most genuinely. For new listeners, Worth Taking’s sound features a playful combination of pop, punk, and alternative inspirations created mostly from a beloved custom “tele-like” guitar, a heavily modified jazz bass and a high-tuned snare to give you that late 2000’s pop-punk energy that remains forever in our hearts.

Paying some attention to detail, one might recognize the possibility of a relationship between Worth Taking’s previous release title, Anxious, and the premise of the forthcoming album. McBrayer does not doubt that these themes have always been heavily present in his life and ultimately, his writing. Hangman, however, is the first release that

openly and directly confronts the issues of addiction and recovery in a methodic way.

“The music was not forced or anything. So, in that sense, it was a very natural writing process. I think the decision to write this way was because it’s a story I’ve not heard and I was up for the challenge,” he said.

There is an undoubtable level of respect due to Worth Taking for the transparency of self-reflection exposed within Hangman. For all those eager to have the early listen, the band has released two singles in anticipation of the upcoming release —“ Different Now” and “This One’s For You” — which can be found linked to their Twitter or Facebook.

Though, this seems like a record you’re going to want to enjoy straight through over and over...and over, again.

The band has extended their greatest gratitude towards their fans and suggests you come hang out when they roll through your town. If you’re a bit shy or short for conversation, ask them about their frightening tour experience driving through a ghost town in North Carolina.

Even more, share your own stories. Confronted bravely and creatively to create the uplifting and motivational series of songs unique to Hangman, this is a record with the rewards of recovery and hope for those sharing similar struggles.

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THE STORY’S END NEVER GIVING UP Words by Casey Wolfe // Photos courtesy of Story’s End

THE

Story’s End, a three-piece alternative rock band originally from Orlando, Florida, released their EP, Turning Point this January. Band members Michael Folds (guitars, lead vocals), Dan Lacey (bass, backing vocals, keys), and Troy Wickliffe (drums, percussion) really feel as if this EP sums them up as a band and gives them their own sound.

According to the band, the title track defines the band’s rise to success.

“‘Turning Point’ the song, is really about taking the big leap and not losing sight of who you are and what you really stand for. Not letting the outside forces of the world change you into something you’re not, making sure you stay true to yourself, and keeping your innocence,” said Lacey.

This EP comes after the band’s neardecision to give up on a music career altogether.

“Well, the quick answer is life just kind of happened,” explained Lacey. “Troy had moved on

to a career-type job, Michael was tired of where his current project was going, not necessarily the direction, but just the drama and frustration that had followed that group for a long time, and I was struggling to find the right people to work with after my last successful project fizzled from losing too many of the founding members. It was just kind of a series of upsets that disenchanted us from the work and the life, really.”

But as any true artist, the music came calling back to them. “Music — all kinds — means so much to us as art, as entertainment, as a culture. There’s no way any of us were staying away for too long. Musicians have to play music.

That’s what we do. It’s part of our DNA,” Lacey said.

With newfound determination to continue making music despite hardships, the guys decided to move forward and make new music.

This time around, the writing process changed for The Story’s End. “With this record we did a

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lot of the writing as a group. A lot of the songs still started as someone’s idea that needed developing, but they were much smaller ideas and there was a lot more contributing from all of us,” said Lacey.

After spending two years on this album, Lacey said it is an evolution of the band’s sound, and the guys are happy with that change. They hope to set precedence with this project for their future music careers. “We’re hoping this EP can act as a kind of springboard for what’s to come,” said Lacey. “We certainly don’t expect it to be our ticket to fame and fortune. But at the same time, we want it to represent the moment we decided to bet big on ourselves as musicians, performers, and entertainers.”

As “the new guys in town,” The Story’s End is still figuring out the best venues and crowds for their music. “There are so many talented musicians out here. You can find some

awesome live music basically any day of the week,” said Lacey. “We’ve been playing a lot down in Orange County which is always a good time, but our show at Boardner’s, in Hollywood, a few weeks ago was probably the highlight of our time here, so far.”

Overall, with all of the hard work the guys have put into their sophomore record, they have many messages for fans to take away from Turning Point. “Message-wise, there’s a lot we hope fans take away from these songs,” explained Lacey. “They’re actually very intimate as far as subject matter — songs about love and loss and staying true to who you are and want to be — but we’re hoping they still convey a message of hopefulness, and doing what you have to do to get where you want to be, and most of all truth to one’s-self.”

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TheFROMWeekend Riot COMPUTER SCREENS TO THE StAGE

Words Words by

by Julia Julia Corrigan Corrigan //// Photos Photos courtesy courtesy of of The The Weekend Weekend Riot Riot

The world

is beginning to turn just a little bit faster for the pop-rock duo, The Weekend Riot. The band has only been around for a little over a year, but they are already racking up thousands of views on YouTube, selling out shows and gaining fans daily.

However, John William Costa, 22, from Cream Ridge, New Jersey, and Bruce Patrick Wiegner, 27, from Warminster, Pennsylvania, are better known as just Johnny and Bruce to their family, friends and fans.

Each member had different experiences when first embracing their love for music.

Costa started out singing in middle school for different school plays. The directors of the musicals told him that he sang “really loud,” so he was placed in all the lead roles.

But for Wiegner, since he was 5 years old, he told his family members he wanted to be a rock star.

“When I was 9 years old, my aunt was like, ‘Oh, are you going to get me backstage passes?’ and I was like, ‘Psh, not for you,’” Wiegner said with an air of sarcasm.

Costa and Wiegner met in 2008 when they both played music at the same local venue called the Hamilton Lanes in Hamilton, New Jersey. Though both of them were a part of separate bands, Wiegner told Costa that he would love to have him record in his recording studio called Overlook Studios. When Costa came in to record, Wiegner was blown away.

“That’s when I kind of fell in love with Johnny’s voice,” Wiegner said. “Actually, that’s when I fell in love with Johnny,” he said kiddingly.

“We’ve been together since,” Costa added while laughing.

From a young age, both Costa and Wiegner learned how to play various instruments and played in a few bands through high school and college until they eventually founded The Weekend Riot. Costa received an associate’s degree from a community college “just to do it”

and Wiegner went to college for one year before he decided he wanted to pursue music full time.

The Weekend Riot has already released one EP called the Remember This Night and a music video for their song “25 Minutes.” In addition to this, they have traveled around the country four times and overseas once as a group.

Besides the catchy tunes they produce, Costa’s and Wiegner’s humility along with the combination of their upbeat personalities are often what attracts fans to the band.

“For some reason, people see what we see in this band,” Costa said. “They see that it could be something really special. That’s what is so incredible about it.”

One of The Weekend Riot’s most unique and popular outlets is their YouTube channel. Every Monday, they release a video called #RiotMonday. In these videos, the band performs song covers, impression covers where both members sing a cover song while impersonating a person or thing and participate in challenges against each other.

Their fans, called the Riot Squad, faithfully watch their videos every week and enjoy the chance to peer into the lives of a band they love.

“Our goal as a band is to basically give people an outlet,” Wiegner said. “We want people to be able to listen to our music, go to our shows and be able to let go.”

“Giving [fans] a place to feel like they’re a part of something bigger than what they feel they might be is what we are trying to do,” Costa said.

The majority of The Weekend Riot’s last EP was cheerful, despite one sad song. The new music, however, touches on more serious topics like dealing with breakups, bitterness and the fear of being alone.

“Both of us went through a lot in the past year,” Wiegner said. “We went from the highs of The Weekend Riot to the lows of breakups. I was sitting there writing and I was like, ‘You know

“WE WANT TO GIVE PEOPLE AN OUTLET - WE WANT PEOPLE TO BE ABLE TO LISTEN TO OUR MUSIC, GO TO OUR SHOWS, AND BE ABLE TO LET GO”

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what? I don’t want to mask what’s actually going on. I’m sad. I’m bitter and I’m going to write about it.’ So we wrote a song called ‘Malicious’ and we are playing it for the first time [in Philadelphia]. It’s a bitter song.”

After “Malicious” was written, the concept for the EP was imagined. The idea of ending up alone is frightening, Wiegner said. But he feels that everyone is also afraid of that possibility.

“It was just so obvious that this was the next step for us to take,” Costa said. “The songs are a bit more mature. It’s not all sunshine and roses all the time, but that stuff still is on the EP. There’s also some thunder, rain and sad times.”

Though the hard times and breakups are sometimes inevitable, the band wants to stress through their new music that people actually do find their way in the end.

The Weekend Riot have worked hard to get to where they are now, and that sort of success doesn’t come overnight. To become successful, it often takes years of hard work and

failed projects to finally gain some recognition, Wiegner said.

“The best thing that could have happened was that it took so long for The Weekend Riot to come to be,” Wiegner explained. “We have been in projects that had failed. We have been in different projects that were somewhat successful but did not go anywhere near the potential of it.

So, we got to be super humble. When things start to happen, we don’t want to go back to there, when nobody cared.”

Costa and Wiegner work together for five, six or sometimes seven-days-a-week for 12 hour days. They write and record music in between playing shows and greeting fans. Despite all the hard work, the band said that being a musician is a lot of fun.

“We wouldn’t trade it for the world,” Wiegner said smiling ‘There’s nothing else we could imagine doing,” Costa said. “It’s not easy, but is so rewarding.”

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BURY TOMORROW BOUND FOR GREATNESS Words by Danielle Gittleman // Photos courtesy of Nuclear Blast Records

Metal

rockers Bury Tomorrow are back with a muchanticipated new album, Earthbound. It’s been two years since the UK band dropped an album, and Davyd Winter Bates (bass), Daniel Winter Bates (vocals), Adam Jackson (drums), Jason Cameron (vocals, guitars), and Kristan Dawson (guitars) are excited to get new music out there.

The two years have given the band time to work on their music and create an album that they’re really excited about.

“In regards to our previous releases, Earthbound definitely stands out amongst the four in regards to relentlessness and aggression,” explained Daniel Winter Bates. “From a songwriting standpoint at least in comparison to our last release, everything feels more concises, to the point, and orchestrated.

We wanted to dig a little deeper in the way we combine melody and madness and I’d like to think we achieved that.”

This time around, the guys took a different approach to writing for the album. For Earthbound, they worked together during the

writing process, rather than doing things on their own, and they found that it really worked for them. “For the first time, we set upon writing on tour, anywhere we could. Whether that be a corridor, hotel room, bus or venue, we just found a quiet place and got to it,” said Daniel Winter Bates. “It felt way more natural as we were constantly surrounded by the aesthetics of a touring lifestyle which for me at least you can certainly feel on the record. The last time around, we wrote from home in various parts of the UK and it was very separated. This time, we were all together chipping in ideas when necessary which made for lots more productivity.”

Leading up to the album, the guys have released a few song for fans to have an early listen — and they seem to be enjoying what they’ve heard so far. “It’s always a little daunting in the lead up to a new release and the first single almost defines the reception from then on,” explained Daniel Winter Bates. “Luckily, everyone so far seems to really enjoy what we’ve released and our fan base has done nothing but prove their

“YOU’RE THE BEST AROUND, NOTHING’S GONNA EVER KEEP YOU DOWN”

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loyalty and dedication more so than ever with the singles so far. We’re overwhelmed with it really!”

New material means playing it live to awaiting fans, and the guys of Bury Tomorrow are really looking forward to getting out there and playing new music for their fans. “My personal favorite [song] has to be “Cemetery.” It was the first full song myself and [Jason] sat down to write,” said Daniel Winter Bates. “We came up with the chorus idea back in 2014 and it felt natural to give it a home in this song. I feel it’s a definite ride from the changes in pace to the heaviness of the outro and Jason’s vocal really brings that eerie vibe created by the guitar lead to life. It’s probably one of the most fun to play too.

I’m pretty excited to play almost every song from this record live, as we all are.”

Earthbound also features a collaboration with Jamey Jasta from Hatebreed on “301.” The guys were really excited and honored that Jasta joined them on a track. “It’s a huge honor to have him on our record. We all grew up admiring Hatebreed and still love their music so it really is a big deal for us,” said Daniel Winter Bates.

Once the album is officially out, it’s go-time for the band. Fans can expect the guys to be out there again, and have plenty to look forward to. “[There will be] a lot of touring, a lot of headbanging, and a lot of circle pits — the usual you’d come to

expect from a Bury Tomorrow album campaign,” Daniel Winter Bates laughed. “Hopefully we’ll see more territory we haven’t encountered yet and see familiar faces from Team Bury Tomorrow along the way!”

As of right now, they guys are scheduled to play some festivals in May, and although they are a fun experience for the band and their fans, they’re more excited to play their own shows instead. “Festivals are a chance to engage with possible new fans and show yourselves off to people who don’t know who you are,” explained Daniel Winter Bates. “It’s always a challenge and I think for us, we thrive in turning heads and trying to gather new recruits. Our own show always feels like a homecoming and we know we can cut loose a little more — almost like a family gathering. However, nothing differs in the energy and effort we give in both environments, we just love playing shows.”

It’s been two years since the guys of Bury Tomorrow have released any new material, and they are extremely grateful to their fans, and most definitely can wait to see them at an upcoming show. Daniel Winter Bates offered a shout out to their dedicated fans, making sure they know just how important they are.

“You’re the best around, nothing’s gonna ever keep you down.”

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THE INSURRECTIONISTS CREATING AN UNDERSTANDING OF THE WORLD Words by Gianluca D’Elia // Photos courtesy of Effective Immediately PR

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THE

Insurrectionists have been making music described as “90s apathy and Vonnegut optimism” since 2011. The band is made up of Casey K, a Pawling, New York native who has been writing songs as early as 11 years old.

The Insurrectionists are now getting ready to release their debut album, I Gave You The Moon But You Wanted The Stars.

“I’ve always said that I am a product of the world I live in, and embrace that,” Casey K said. “I am directly inspired by what I read and see, and I don’t try to hide that in any way. I think it’s important as an artist, and as a living person, to piece together your own understanding of the world from everything that’s around you. You pick up bits and pieces here and there and create your own meaning.”

Casey K said the process of writing and recording the debut album was more complex than that of The Insurrectionists’ 2013 EP Round Peg/Square Hole. For Casey K, one of the first steps towards creating the album was the title.

“The title was probably the first thing set in stone for this album, and the only real constant for the duration of the writing and recording,”

Casey K said.

“Some things took a turn in my ‘love life’ – or lack thereof,” Casey K admitted. “And it was like, ‘wow, now this title has come true.’ At that point, it became the only feasible title for what I was trying to say. It’s poetry, it’s bold, it’s long, it’s astronomical.”

For I Gave You The Moon But You Wanted The Stars, Casey K said the songs were written with a common end goal in mind.

“With this album, I made it a point to have all of the songs be very different to better represent the range of styles I write and play and listen to,” Casey said.

One of the first singles from the album was “He Who Cried, ‘Whore!’”

“I knew it was bold, but it was just what the song had always been called,” Casey said. “I felt that if you listened to what I was saying, you could extrapolate that 1. I’m not talking about anyone else in the song, therefore there is no one actually being called ‘whore!’ and 2. the title is a reference to the carelessness of our generation.”

Casey K also noted that love is the most significant theme on I Gave You The Moon But You Wanted The Stars.

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“My friends and I are at an age where you’re trying to figure SO much out at once — finances, relationships, career choices, coping with death and loss and dealing with reality,” Casey said. “The greatest theme on the album would definitely be that of love — not Tinder hook-ups, but real, tangible love.”

“I see love as the root of many of our desires and wishes in life, and behind all of my grand visions of touring and music videos and concept albums, I secretly just wish for one person to do it all with. And so a lot of what this album is about are my many failures in seeking that. This album is very much a big sigh after-thefact, but I wouldn’t say it is negative. I’d say that it embraces all of those things that people my age battle and faces them head-on.”

The Insurrectionists’ latest single “Diet Coke” tells the classic “boy meets girl, boy chases girl, girl gets away” story.

“The song builds and fades away to reflect that, and was probably one of the only times I consciously made the decision to have the music directly reflect the lyrics in that way. It fades out and disappears before it explodes, because in life, we rarely get the ending that we want. Yet life goes on.”

“Diet Coke” will also be The Insurrectionists’ first music video.

“The making of the video was actually a lot more enjoyable than I had thought,” Casey said.

“The only real stress came from time constraints — we have only a few hours in NYC to shoot

everything there before we had to be at a specific place to catch the sunrise, and for the indoor shots we only had so many hours in the day we could use the space.”

“I had probably one shot in mind initially — there’s a shot at the end with shots of the city at night projected over us playing in the dark — and ran to the store to buy index cards and storyboarded the entire thing in about an hour.

I used those to map out what shots we would need, and we did the shots. I usually don’t plan as much for absolutely anything, but I knew we’d have those time constraints so did a lot of work upfront.”

The Insurrectionists are releasing I Gave You The Moon But You Wanted The Stars in January, but currently do not plan on touring.

However, Casey K is writing constantly. He even wrote songs for the next album and wants to release it by 2016.

Casey said the next album after I Gave You The Moon But You Wanted The Stars would be the “get up, brush yourself off, and move forward” record.

“There is no shame is falling down,” said Casey. “This album is definitely about all the different ways you can fall down. Many of my peers are so shell-shocked by life because they are afraid to fail, and this record is my way of showing them that failing is absolutely a reality, and it is absolutely OK. Your ability to fail is what makes you human.”

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Sleepwalker Interview by Tori Pisco // Photo courtesy of Sleepwalker WNZ: How did the name Sleepwalker come to be?

The idea was sparked by the Stephen King film “Sleepwalkers� that came out in the 90s. It came across when the band was first coming together, and after shaving off the last letter it fit the vibe of what we were looking for in a name.

WNZ: Having three years between your rookie and sophomore releases, has the dynamic of the band changed at all?

Absolutely. Our perspectives have changed as far as what we want to do with our music, how to most effectively write songs, and the things we look for in the finished product. Holy Hell is a lot more diverse than New Age Inertia because we really kept ourselves open to things that we were

more careful about when we first started.

WNZ: What were your goals starting off as a band and what have they grown to now?

Starting off, we were set in headlining shows, touring, and releasing a full length record.

Nowadays we want to experiment more with music, play festivals, and tour more frequently.

The goals have just evolved in a way, so rather than feeling like we achieved what we set out to do, we want to take it to the next level and push the envelope further.

WNZ: In terms of sound, is there a significant difference in the writing and recording between your first and second LPs? Oh definitely! On New Age Inertia we were going

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for a heavy rock sound that hit hard and would grab the attention of anyone in a small venue.

Writing Holy Hell involved a lot of influences and instruments that weren’t explored on the first album, a focus lyrical storytelling that uses metaphors sparingly, but also a willingness to have fun and let songs take their own shape without us tampering with them too much.

WNZ: You mentioned that you record, mix, and master everything yourselves. Do you have your own studio?

We do, however it’s changed a lot over the last few years. We left a designated studio space located on Michael’s old property in Arizona when we moved to Austin a couple years back, and now we record in the living room of our apartment with concrete floors and oddly-shaped walls.

WNZ: If you’re recording on your own, you must be into gear. What are some of your most treasured possessions that are critical to building the Sleepwalker sound?

It’s actually hard to credit specific pieces of gear for our sound, but we have a few great microphones and studio plug-ins that certainly help us along. Most of the guitar was done through a Marshall JCM 900 and Mesa cab that has comprised our guitar setup since day one, so I suppose that really ties a bulk of the sound together.

WNZ: Is this process something you prefer keep DIY or is there an interest in working with another studio or a producer moving forward with future releases?

We’re very open to working with other people.

We’re very proud of what we’ve accomplished on our own, but having someone outside of the band get involved with the process would provide a fresh, welcome spin on things.

WNZ: Who, in particular, are the producers or industry professionals on your radar that you would be interested in working with?

Realistically, Erik Ron and John Feldmann are the two names that come to mind that we might be able to at least catch their attention at this point. I think the “dream team” would vary

depending on which band member you talk to, but I know Butch Vig is very high on everyone’s list. He seems like he’d be incredible to work with.

WNZ: For those unaware, how would you describe your sound and to what audience(s) do you expect or tend to appeal to most?

I’d call it spunky punk rock that takes its shoes off and starts dancing after a couple beers. We seem to do best with the late high school crowd and also the gray-haired gentleman in the back of the room shooting pool.

WNZ: Have you solidified your Spring tour plans?

Those plans are still in the works, but we’d love to tour with any band that enjoys the touring experience and doesn’t take themselves too seriously. I’ve been listening to Bad Suns a lot lately and think they would be fun to tour with, even if we don’t sound too similar.

WNZ: What is the band’s most memorable on-stage experience? How about the most memorable touring/recording/off-stage moment?

Right before we moved from Arizona to Texas, we played a show that was really special to us.

It was packed full of so many friends and family coming to see us off that it was more of a party with some songs in the middle than an actual show. Off-stage; our first van had its transmission go out on the side of the highway on our way to our first warped tour show in 2012. Easily one of the most stressful days in the band’s history, but the way we pulled together and figured out how to carry on from the side of the road in Kingman, AZ is something we’ll always be proud of.

WNZ: What do you hope to earn or achieve in 2016?

We want to strip more layers of inhibition away from our songwriting and be as honest and raw as possible. Whether writing, or recording, or playing live, we want to get in a better habit of going with our gut and not worrying about how it comes off to others.

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the hip ABDUCTION Interview by Julia Corrigan // Photo courtesy of The Hip Abduction

WNZ: How did the band meet? When did you become The Hip Abduction? How did you think of the name?

THA officially formed in 2011. We connected over a mutual love and respect for West African and early Jamaican reggae/dub music and I’m pretty sure I first heard the term “the hip abduction” in an Anatomy and Physiology class in college. Just always thought that it would be a cool name for a band... this was before I had ever written a song!

Guess it stuck.

WNZ: What inspired you to start playing music? What instruments can be heard in your songs?

I absolutely hated my job when I moved back from the Caribbean. It was all I could do to take me back there, without actually being there. The instrumentation often heard in THA songs are: Kamale Ngoni (west african harp), guitar, keys, sax, drums, and bass.

WNZ: Can you tell us about the new album coming out in March 2016? How does it differ from previous music put out by the band?

How would you describe the sound?

Previous albums have had more of an organic world feel, but Gold Under the Glow definitely has more of a modern alternative-pop feel because our influences have evolved. It also feels very cinematic. We hired producer Dabney Morris (Wild Cub) who helped us incorporate a synthpop touch into the band’s rootsy foundation and summery vibe. It’s cool because a lot of the sounds in our foundation aren’t very common in the synth-pop world.

WNZ: How did the Kickstarter for the album help bring it to life? What was it like exceeding your goal by over $7,000?

Rad as hell! Everyone knows how much albums cost so every cent is huge. We’re so grateful for our fans who helped us out.

WNZ: What were challenges you faced writing and recording the new album?

Reinventing ourselves as an evolved musical group without losing the core vibe of the previously established sound was definitely a

challenge. You want to push the limits without alienating your current fan base and I feel we accomplished that.

WNZ: 2013 was a pretty big year for you ‑ releasing a self-titled debut album which gained a top 5 spot on the Billboard reggae charts. What are some ways you would like to top that?

Bigger and bolder baby! It would be nice to reach a broader fan base beyond world music enthusiasts — which is a very tight nit group. Alt rock charts are next :) WNZ: How would you describe your performance/set for the Gold Under the Glow tour this spring? When does the tour kick off and what can the fans expect to see and hear?

Tour officially kicks off March 4th and we’ve put a good deal of time rehearsing the new songs.

Tons of new tracks and covers for ya earholes.

WNZ: What’s your favorite part about touring the country?

Waking up in a new town every night can be tough because you don’t always have the time to appreciate the travel. But those occasions where we get to visit and explore make it all worthwhile.

WNZ: Where’s one place you would love to travel to that you haven’t been able to visit yet?

Uganda and Nambia.

WNZ: Why did you decide to call the album Gold Under the Glow?

It comes from a lyric in the song “All I Need”...

“Are you the gold under the ocean glow”?

WNZ: What’s your dream collaboration for the band?

Ladysmith Black Mambazo WNZ: How do you see 2016 and the future years playing out for The Hip Abduction?

Things are starting to get crazy. No end in sight kids!

A L

BURY TOMORROW

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Earthbound

U Words by Kasey Seifried

M R E V

U.K. natives Bury Tomorrow are kicking off the new year with the release of a new album, Earthbound. The album starts off strong with one of its heavier tracks, “The Eternal,” leading into what I hoped would be a solid metal album to ring in the new year with.

I was not completely disappointed with this album, but then again I wasn’t overly thrilled with what I heard.

My favorite track on the album came up quick at number two, titled, “Last Light.” With crisp screams and a catchy hook, this song hands down has the best vocals, screams and instrumentals on the entire album. Unfortunately, as I kept listening I found all the tracks bleeding into each other, one after another sounding similar and almost repetitive, blending all together; that is until the very end of the album. The band ends Earthbound on a significantly higher note, with “Bloodline,” another track with impressive guitar, vocals and lyricism throughout.

Earthbound is a solid album, but it is slightly generic. Go into it with high expectations and you might be disappointed; go into it with no expectations and you may be pleasantly surprised with what you hear.

I E W S 33 http://whitenoisezine.com

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TEXTURES

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Phenotype

U Words by Danielle Gittleman

M R E V I E W

Textures, a metal band hailing from Tilburg, Netherlands, are set to release their fifth album, Phenotype on February 5. Phenotype is the first of a set of two albums that the band has worked on.

The album opens with “Oceans Collide,” an energetic song right from the first second of pressing play. You’re immediately hit with music that will get you up and moving around in no time.

With fast guitar riffs and a drum beat to match, the song holds true to the metal genre. There’s far more unclean vocals compared to clean, however, I really think that the unclean vocals really contribute to the fast tempo of the song.

On “New Horizons,” the song opens with clean vocals, which I found really refreshing compared to the opening song on the album. The tempo isn’t as fast as “Oceans Collide,” but still gives off that heavy metal vibe, that makes me want to headbang as I listen.

Some other notable tracks include “Illuminate The Trail,” which has an amazing guitar solo, breakdown and buildup within the song. “Meander,” and “Zman,” are strictly instrumental, and more of an interludes. The tracks are excellent segues into the other songs on the album. “The Fourth Prime,” has a great mix of both clean and unclean vocals, and a fantastic buildup in the first part of the song that would make any metal-lover happy.

Overall, the flow of the album is excellent. The fast-paced opening track really set the bar high for the album, and I really don’t think it disappoints. The final track, “Timeless,” is a slower song in comparison to the other tracks (but still upbeat, nonetheless) and is a great end to Phenotype. The instrumentals and the clean vocals really bring the album to a close, and will definitely get fans excited to see what the second album of the duo will sound like.

I don’t listen to metal music very much, however I found myself enjoying listening to Phenotype and I would definitely give it a few more spins in the future. I think it’s really unique for a band to have a set of albums that are being released in a part one and part two fashion, and I cannot wait to see what follows in Phenotype’s footsteps.

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A L

THE INSURRECTIONISTS

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I Gave You the Moon, But You Wanted the Stars

U Words by Kasey Seifried

M R E V

The Insurrectionists recently released their newest album, I Gave You the Moon But You Wanted the Stars on January 22nd, and I’ll be honest, I didn’t really know what to expect from this album. Looking at the cover art, I assumed it was going to be something along the lines of a Bright Eyes cover band, but I was wrong. It sounded better than a Bright Eyes cover band.

The interesting-titled beginning track, “He Who Cried,’’Whore!’” has a nice grungy, upbeat sound to start us off, with catchy lyrics, captivating vocals and an awesome drum beat. The album stays consistently strong with the next few tracks, each sounding just different enough that every new song is like a pleasant surprise; even the Blake Lewis-esque ending to ‘Things Fall Apart,” it is so 2004, but it strangely works. It’s towards the end of the album where things seem to fall apart for me. I had “Wax Indignant” when hearing the slow tempo, piano and soft vocals, but was quickly disappointed as the vocals became blatantly forced and unnecessarily raspy. And it might just be me, but “Au Claire de la Lune” sounds way too much like “Free Fallin” for my liking. The highlight of the album falls late in the track listing, “A Hymn For a Funeral,” where I finally get that well performed slow jam I’ve been patiently waiting for.

As a whole, I really enjoyed this album. It had it’s highs and certainly its lows, but I would definitely recommend it to all those Bright Eyes fans out there.

I E W S 35 http://whitenoisezine.com

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ROSEDALE

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Colour Blind

U Words by Casey Wolfe

M R E V I E W

Rosedale, made up of musician Mike Liorti, recently dropped a full-length album titled Rosedale. The album is made up of alternative rock songs with strong vocals and a sound that’s on the lighter side of alt rock. Rosedale opens with “Sustain,” a track about the necessity of loving what you do, especially as a musician. With notable lyrics such as, “You need to be in love with it/ and when you feel you want to quit/sustain,” and “Just like anything/if you’re passionate/the hard work seems like fun/but sometimes it can get the best of you/and it all just falls apart.”

“Quicksand” starts off darker than the first track with heavier instrumentals and echoed lyrics such as “Mirror, mirror in the sky/tell me how much more you need from me tonight.”

These haunting lyrics are followed by spoken word, talking about himself being “his own biggest everything” and developing a severe case of obsessive controlling disorder. The rest of the track alternates between singing and speaking verses.

“My first show” is the story of his success in his first band. It’s an autobiographical account of his first show and the rush he felt during his performance; how they were off key and how their voices cracked; how he fell in love with the experience.

“To My Father” starts with a voiceover of a father talking to a son. The chorus then comes in with lyrics, “Dad, you can count on it, I owe you much more than the love you have for me/I’ll never quit.” He adds that he couldn’t have it any better. This song is a sweet dedication and a thank-you to his father without being overly emotional.

“Test Rats” is a harder song compared to the rest of the album. It is more upbeat and has a deeper sound. The chorus comes in with “everything in moderation/we’ve all just become their compulsive test rats.” This song has an angry tone, which is a nice relief from the rest of the album being more emotional.

On “What Means More,” Liorti struggles with what means more to him: support, or sticking with what he’s grown to do. The conflict is strengthened by the instrumentals in the bridge and echoed lyrics. In the end, his voice echoes, “It’s made me all confused,” and the music ceases.

This album ranges from happiness and gratefulness for where the artist is in life to dark confusion and uncertainty. Collectively, the self-titled album is an experience that listeners can feel in soothing vocals to upbeat instrumentals. As a one man band, Rosedale proves that one man is all it takes to produce a quality album.

S http://whitenoisezine.com

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A L

MAPLE HILL

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Headspace

U Words by Layne Edwards

M R E V I E

Have you ever put on a new album and suddenly you’re slapped in the face with the backhand of nostalgia? Maple Hill is on the verge of releasing an album that will knock you right back into 2006 when tracks like “Coffee Shop Soundtrack” and “Just Say You’re Into It” were Warped Tour highlights. With fast pace rolls and guitar rhythms that could get the most jaded of punks off their feet. The band of four are diving in head first out of Ithaca, New York with their debut album Headspace.

The first thing that stood out was the warm familiar feeling of four boys straight out of high school, singing about their best friends and hometown woes. The album as a whole feels like a marathon with a few water breaks in the form of a smooth bridge and soft intro sprinkled here and there. Such as on the track “Jack Blinked,” where the listener has an opportunity to slow down and sink in their teeth into the songs main take away, “Its a good thing there are so many next times.”

Another strong component of the album and this track specifically is the band’s creativity in the way they use layered vocals to create dynamic which I found missing in the album as a whole.

Every track on the album has a riff or a melody worth remembering but track eight, “Street Lights,” takes the cake for most captivating. With a sweet beginning that reels the listeners in and makes them stay with a dynamic vocal adventure and demanding drum rolls. This track absolutely shines in every way through an album that I would label otherwise average. It highlights each and every component of the band and lets them take turns jumping out and melting together in waves, each giving you a different taste of what each instrument creatively brings to the table.

The album perfectly displays the “headspace” of the band as a whole. It’s about love and loss, and growing up in those years of ever changing relationships with the world and yourself. I highly recommend giving the album a few good spins to truly enjoy and pick out the hidden treats.

And as for the band I for one will definitely be keeping a lookout for what’s next. These guys are definitely not ones I’d bet against.

W S 37 http://whitenoisezine.com

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KEYS & CORRIDORS Thieves

U Words by Casey Wolfe

M R E V I E W

Keys and Corridors is a female fronted alternative rock band from Akron, Ohio. The band recently released their debut EP, Thieves. The EP opens with “Exchange,” an angry, yet upbeat track defined by lines such as “do you feel justified messing up someone else’s life.” The vocalist, Kaylene Widdoes, is reminiscent of Jenna McDougal of Tonight Alive and Cassadee Pope, formerly of Hey Monday, with a wide vocal range and a pop punk attitude in her voice. Listeners of Flyleaf and Paramore will also enjoy the band.

“Red Letters” a darker song on the EP about an inner struggle with one’s own mind. “These thoughts of mine, they’ve been killing me/So I force ‘em down to keep from suffocating / But how can I breathe, I tried to bury them deep/I feel them eating me alive this could be the end of me/I wrote them in red”. It has a heavier tone than most of the album.

The next track, “Transparent” comes in with a lighter sound and is on the edge of pop until the chorus. It starts, “Can I be transparent with you now/I’m so caught up in my own affairs/trying so hard not to be scared/maybe honesty is the only way out.” The song is about being fully open and honest in order to set wrongs right.

Following “Transparent” is the title track, “Thieves,” which is more upbeat than “Transparent” while still having a calm sound. It opens with, “I hope you hear the words I wrote/and can never let them go.” The vocalist begs the subject to bring her back down to earth when she sings, “Grab my arm and tell me I’m not imagining/make everything become clear.”

The EP also includes an acoustic version of “Transparent,” which allows the band to show off their instrumental skills as well as showcase better Widdoes’ soft and delicate voice. It is definitely a song for a rainy day playlist.

With great melodies and a lot of heart, Keys and Corridors have created a strong EP that sounds like a culmination of many great well-known female fronted pop-punk bands while still maintaining originality. Their lyrics are sincere and genuine and their sound balances heavy instrumentals with delicate vocals to create an edgy, sweet and melodic EP. “Thieves” will steal your attention and take you back to a time when female fronted bands owned the pop-punk scene.

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