Lakeside, Florida band, Copeland are steaming their version of "Have Yourself a Merry Little Christmas" on their myspace.
Copeland Release New Christmas Song
Lostprophets Posts First Studio Blog
Lostprophets have released their first studio video blog and can be seen here.
A Day To Remember Add Extra UK Date
A Day To Remember have added an extra UK date. On Febuary 14th the Florida 5-piece will Manchester's The Roadhouse with supprt from Failsafe and The Honeymoon Suite.
Exclusive: Justin Beck (Glassjaw) at Merch Direct
In celebration of the new Glassjaw track entitled, 'You Think You're John (Fucking) Lennon' being streamed on the band's official website, we thought it was no better time for us to upload our exclusive photos taken, whilst in the company of Glassjaw guitarist and self-made businessman, Justin Beck.
Credit to Justin Beck and Merch Direct.
New Glassjaw merch in production
Photos been taken for Merch Direct online
Ever wondered where Glassjaw's gear was stored?
Glassjaw screen design
It ain't 'Heil Hitler'...
Classic Glassjaw varsity design
Photograph of Beck at day camp, where he had met Daryl.
Original track listing to 'The Impossible Shot' demo with various old self made band stickers/flyers
One of the many stickers the band would make at Kinkos
Beck reading his old fanzine, which he used to run specializing in the hardcore scene
One of a kind, Glassjaw Nike Blazers
Beck in the 'board room'
Read our Exclusive with Glassjaw's Justin Beck here.
The Auteur Posts New Song
Brighton Powerpop band, The Auteur have posted "To Cut Short Story Shorter" on their myspace.
Architects Posts New Songs
Brighton metalcore band Architects have posted 2 new songs on their myspace.
Architects start their UK tour on January 10th.
Support from Misery Signals and A Textbook Tragedy.
10.01.2009 Yeovil The Orange Box11.01.2009 Plymouth White Rabbit
12.01.2009 Exeter Cavern
13.01.2009 Newport TJs
14.01.2009 Birmingham Academy
16.01.2009 Liverpool Barfly
17.01.2009 Manchester Academy 3
18.01.2009 Leeds Rios
19.01.2009 Glasgow Cathouse
21.01.2009 Edinburgh Studio
24 22.01.2009 Newcastle upon Tyne Academy 2
23.01.2009 Sheffield Corporation
24.01.2009 Stoke On Trent Sugarmill
25.01.2009 Peterborough The Park
26.01.2009 Norwich Waterfront
27.01.2009 Portsmouth Wedgewood Rooms
29.01.2009 Oxford Academy
30.01.2009 London LA2 w/ Your Demise + Special Guest
31.01.2009 Brighton Concorde 2 w/ Your Demise + Special Guest
The Promise Hero Release Holiday Song
The Promise Hero have released a Christmas song titled "Heavy Heavy Snow Snow" and can be heard on the bands myspace.
The Black Dahlia Murder Guitarist Leaves
The Black Dahlia Murder guitarist John Kempainen has adbruptly left the band.
The following statement was released:
"On the eve of our December tour with friends Misery Index and Soilent Green, we in The Black Dahlia Murder are faced with a heartbreaking dilemma: John K. has abruptly left the fold and refuses to accompany us on the tour. We are left with no choice but to carry on with the dates as a four piece. The remaining members of the band apologize for these unprofessional circumstances, but we feel that it is best to go through with the tour and not disappoint the other bands as well as the fans who are looking forward to these shows. Please come out and show some Black Dahlia love in our hour of need."
Asteria Posts Xmas Song
Asteria have released a Christmas song called "Have Yourself A Lonely Little Christmas" and can be heard here.
New Glassjaw Track
A new Glassjaw track can be heard here. The track is "You Think You're John Fucking Lennon". You just have to wait abit for the track to start.
Album Review: Various Artist - LAB Records Preview Sampler 2009
LAB Records are a UK independent label that is just over a year old but in that short space of time, it has established itself as a enthusiastic and expanding label with this sampler especially showing evidence of this.
This 2009 Preview Sampler showcases all 5 acts from its roster and with added extras. Brighton's The Auteur kick-off the sampler with the banging "Welcome Back", a track being a fine example of Britain's thriving Pop-Punk scene which puts some of it's American counter-parts to shame, with strong vocals, thumping drums and catchy guitars.
Next are fellow Brighton band, MiMi Soya led by fiery female vocalist Hero Olivia with "Don't Stand On Ceremony" a fast-paced track with a bassy verse and catchy chorus with light "woah-ohs" back vocals which leads.
Stamford singer-songwriter Rob Lynch, aka Lost On Campus slows thing down with his brand of acoustic folk pop music. "But A Bridge" is a track that builds up to a grand conclusion which includes electronic beats and strings with Lynch's bitter vocals fitting nicely on top.
Manchester's The Honeymoon Suite kick the album back into action with "Fight. Fly. Crow", a fast and powerful track with added gang vocals and rocking guitars. Overall the track will definitely get your toe-tapping or head nodding.
My Action Your Exit are next with "World You've Got". The Glasgow four-piece are another fine example of British Pop-Punk with tight musicianship and strong vocals from Scott Craig. In addition with good guitar playing from lead guitarist Andrew McKenzie.
The sampler also treats us with 2 bands who aren't part of the LAB Records family. First there is Clarkson with "Come On" a straight forward Powerpop/Rock song, which goes along at a nice, steady pace with a simple, yet effective chorus. The Night Life Crisis are next with "Running with Scissors" which showcases an Indie band with Pop-Punk sensibilities and backbone with it's light guitar riff and steady timing.
The Auteur make a return, however I have to say I was disappointed with "Routine" with its dance beat, synth keys and vocoder lead vocals made it sound to much like the awful, embarassing music coming from across the pound of late.
MiMi Soya's "Deathwish" get the remix treatment from The Auteur. Unlike the band's own track, dance beats, tweaked vocals and synth keys, somehow work on this track. Hero's vocals went well with the vocoder effect and thumping beats.
The sampler ends with another remix. This time Lost on Campus's track "Oh No!" is remixed by James K Sanford. Sanford has taken a 3 minute bouncy acoustic track (from his "Tell Them I Had A Wonderful Life") and pretty much ruined it by overloading with synth keys, echoed vocals and horrible dance beat.
The "LAB Records Preview Sampler 2009" is definitely a 2-sided affair with the 1st showing that Britain's independent scene is thriving with talent and great songs, whilst the sampler ends on a down note. Overall this sampler shows LAB Records are on to a good thing with a strong roster of acts and 2009 can only mean things will get better for all involved.
"LAB Records Preview Sampler 2009" is available now for 99p from LAB Records Online Store or is free when brought with other store items.
Powerspace Working On New Album
Chicago rock band Powerspace have announced they are currently working on a new album and have shelved plans to release an EP.
A Myspace blog posted by the band said:
"Many apologies for our recent disappearing act. However, it was not without good reason!Some of you may be wondering wtf happened to the EP we mentioned would probably be coming out at the end of last month. Well, we did actually record a 4 song EP, and it rocks. In fact, it rocks so much that everyone got way too pumped up and we decided these jams shaant not be 'wasted' on an EP. These songs need to be with their friends on something bigger, something longer...like an LP. So that's what we're doing; we're making a full length record. The last months we've been locked away writing and demoing new material in Chicago. We've got about an albums worth of songs already, but we still have to explore thousands of other ideas we've got floating around. We have big plans for this record. No expense will be spared, not stone unturned, no guitar unshredded, no drum unpounded, no bass unplucked, no pick unscraped, viva la revolution! I hope you all like the sound of rock 'n' roll music, because I DO! I DOOO! I DOOOO!
-Tom"
Coming Soon: ATP Podcast Episode 2
Hey Sean here.
I'm currently planning the 2nd Alter The Press podcast.
The ATP Podcast features music from both new and old bands, as well as signed and unsigned bands.
If you are a band/artist and want your music to be played on the ATP Podcast please feel free to contact on the information provided below. As well if anyone has any suggestions, please send your requests to the information provided.
Myspace: www.myspace.com/alterthepressuk
ATP Podcast Episode 1 can be heard here.
Exclusive: Kevin Devine and Jesse Lacey - 25/11/08
Kevin Devine was gracious enough to speak to Alter The Press prior to his set at the Music Hall of Williamsburg alongside Brand New front man, Jesse Lacey, and Brian Bonz.
During the interview, Jesse Lacey joined us and contributed his thoughts. We touched on, Kevin's past, his influences, leaving Capitol Records and his new record, 'Brothers Blood,' out next year. Jesse also provided his two cents on the current state of releasing music, bringing the solo tour overseas, how Brand New nearly broke up and more.
We are pleased to present this exclusive interview.
Alter The Press: Tell us what you have been up to at the moment.
Kevin Devine: I just got back from a social trip to Seattle, which was nice. I've been on tour for the last two-three years, I've had 6-7 six week breaks in three years and at the moment, I'm ending one of those. I'm going back on tour with Manchester Orchestra and Dead Confederate starting Friday and tonight I’m playing the Music Hall of Williamsburg with Jesse (Lacey) and Brian (Bonz). It’s nice to play again, it’s been a while.
ATP: You went on a tour of the US earlier this year with Jesse and Brian. Can you explain how the tour came together, the layout, who goes first etc?
KD: Me and Jesse have known each other for ten years, and been close friends for about six years. We've always spoken about playing music together, talked about liking the same music, have a similar perspective of why we play music and what we want to achieve. So we played Give It A Name festival with Brand New, then a two month tour in the States with them and we spoke about doing this tour in the summer. We had a great time so we decided to do it again this summer. We did the east coast and mid west last year so this year we decided to do the west coast. Brian is a friend of mine who lives in my neighbourhood and plays music. Brian and Mike (plays guitar for Kevin) both play in my band as well, and Jesse loves them, so it was kind of a no brainer to make him the other guy. We travelled around in a van, the four of us, and played about twenty shows. Brian goes on first and we play a couple of songs, I go on next and everyone plays a couple songs with me, then Jesse plays and we play couple songs with him. It’s fun as I'm older and not a music per user as I used to be, like digging out old records of bands I've never heard of, like when I was teenager growing up in the hardcore scene. So I listen to my friends a lot. I really like Brian's music so I get to learn and play it. Besides, the fact you’re travelling with people you would hang out with anyway in your neighbourhood it sometimes doesn’t even feel like work, which it’s not anyway, but it’s even less so with these people.
ATP: Can you describe what you used to do before you started playing solo and how did you get into playing music?
KD: I started to play guitar when I was an early teenager. I used to be into 'cock-rock' stuff, like Mötley Crüe and Poison, like when I was eight, really bad music which I thought was cool then. So I started to play electric guitar and learn rudimentary guitar power chords kind of stuff, playing along to those records. Then I got into Nirvana which warped my perspective. Kurt Cobain would talk about bands like The Pixies, Sonic Youth and The Breeders, those bands. I ended up liking those bands. The difference between what those guys were doing and what Slash was doing is, that, you felt like you can play Nirvana songs; it didn't feel like you can play those complicated guitar solos. Later on, you would realise Kurt Cobain was a more interesting guitar player than those flashy guys but then you would think, 'those were just three chords?' I can do that. I learnt enough to write my own songs. I played punk and hardcore but my bands were always indie rock. We played in the scene with those bands so I guess I wrote quieter stuff on the side like REM, that sort of stuff. I didn't start doing it in any equivalent way to the louder stuff until I was in college and listening to a lot of Bob Dylan, Neil Young, Elliot Smith and that part of my personality manifested more. I still can't believe I'm making a living out of this, it’s very strange to me. My band broke up in 2003 and I had just made one acoustic record and did another one, 'Make The Clocks Move,' and that was the record some people paid attention too. So I decided to tour a lot in those intervening years, Europe especially, then, all of a sudden, it was 2006 and I was signed to Capitol, making a third record, not having a day job. I don't know how that happened. I guess from playing seven hundred shows in three years.
ATP: You were recently dropped by Capitol, what was the reasoning behind that?
KD: They got subsumed by Virgin. They swallowed Capitol to save EMI from some devastating profit loss. I got dropped, a lot of bands did. A lot of people got fired which was more serious. For me, I couldn't believe I was actually signed to Capitol; just being in LA, making a record and recording where Neil Young, Prince, The Doors had, I am so happy I got to do that. They really didn't know what to do with me before I got dropped. I don't exactly fit in the emo or indie thing. I do tours with mainstream singer/songwriters like Katie Tunstall, but I don't fit in there either. The economy collapses and people get caught up, I got caught up and I wasn't alone but I got some money, I got to make a record, I would have never got to make it the way we made it. I got the record back when I was dropped and now get to re-release it on Jesse's label.
ATP: So it was a good deal then?
KD: I have no complaints about it. It would have been nice if they pushed the record a little more but they didn't. It still worked out. I still got fans and a following which they helped me build and finance.
ATP: Your next record is out on Favorite Gentleman Records, how did that come about?
KD: I met those guys (Manchester Orchestra) through Brand New and we get along really well. Brand New, Manchester Orchestra, Brian Bonz, Color Revolt, mewithoutYou and bands I know from around here, those are people I consider for the first time in my life, a little crew. Manchester are a part of that and approached me about signing and asked if they could do my next record. It came around through talking. We gave it a shot, now everyone's excited.
ATP: Let’s touch on the new record, 'Brothers Blood,' (at this point Jesse joins us.)
KD: March 13-17th it looks like in the US. We are trying to find a label in the UK, hopefully June out there, and Europe. It’s more heavier and expansive at points. A lot of it came from a conversation I had with Jesse. When we spoke about it, I didn't know how to filter the pop, quiet and bad stuff, which I like, but I felt 'Put Your Ghost To Rest' was a pretty record. There wasn't a whole lot of loud on that record. Just patches. I always thought I had to do one or the other.
During the interview, Jesse Lacey joined us and contributed his thoughts. We touched on, Kevin's past, his influences, leaving Capitol Records and his new record, 'Brothers Blood,' out next year. Jesse also provided his two cents on the current state of releasing music, bringing the solo tour overseas, how Brand New nearly broke up and more.
We are pleased to present this exclusive interview.
Alter The Press: Tell us what you have been up to at the moment.
Kevin Devine: I just got back from a social trip to Seattle, which was nice. I've been on tour for the last two-three years, I've had 6-7 six week breaks in three years and at the moment, I'm ending one of those. I'm going back on tour with Manchester Orchestra and Dead Confederate starting Friday and tonight I’m playing the Music Hall of Williamsburg with Jesse (Lacey) and Brian (Bonz). It’s nice to play again, it’s been a while.
ATP: You went on a tour of the US earlier this year with Jesse and Brian. Can you explain how the tour came together, the layout, who goes first etc?
KD: Me and Jesse have known each other for ten years, and been close friends for about six years. We've always spoken about playing music together, talked about liking the same music, have a similar perspective of why we play music and what we want to achieve. So we played Give It A Name festival with Brand New, then a two month tour in the States with them and we spoke about doing this tour in the summer. We had a great time so we decided to do it again this summer. We did the east coast and mid west last year so this year we decided to do the west coast. Brian is a friend of mine who lives in my neighbourhood and plays music. Brian and Mike (plays guitar for Kevin) both play in my band as well, and Jesse loves them, so it was kind of a no brainer to make him the other guy. We travelled around in a van, the four of us, and played about twenty shows. Brian goes on first and we play a couple of songs, I go on next and everyone plays a couple songs with me, then Jesse plays and we play couple songs with him. It’s fun as I'm older and not a music per user as I used to be, like digging out old records of bands I've never heard of, like when I was teenager growing up in the hardcore scene. So I listen to my friends a lot. I really like Brian's music so I get to learn and play it. Besides, the fact you’re travelling with people you would hang out with anyway in your neighbourhood it sometimes doesn’t even feel like work, which it’s not anyway, but it’s even less so with these people.
ATP: Can you describe what you used to do before you started playing solo and how did you get into playing music?
KD: I started to play guitar when I was an early teenager. I used to be into 'cock-rock' stuff, like Mötley Crüe and Poison, like when I was eight, really bad music which I thought was cool then. So I started to play electric guitar and learn rudimentary guitar power chords kind of stuff, playing along to those records. Then I got into Nirvana which warped my perspective. Kurt Cobain would talk about bands like The Pixies, Sonic Youth and The Breeders, those bands. I ended up liking those bands. The difference between what those guys were doing and what Slash was doing is, that, you felt like you can play Nirvana songs; it didn't feel like you can play those complicated guitar solos. Later on, you would realise Kurt Cobain was a more interesting guitar player than those flashy guys but then you would think, 'those were just three chords?' I can do that. I learnt enough to write my own songs. I played punk and hardcore but my bands were always indie rock. We played in the scene with those bands so I guess I wrote quieter stuff on the side like REM, that sort of stuff. I didn't start doing it in any equivalent way to the louder stuff until I was in college and listening to a lot of Bob Dylan, Neil Young, Elliot Smith and that part of my personality manifested more. I still can't believe I'm making a living out of this, it’s very strange to me. My band broke up in 2003 and I had just made one acoustic record and did another one, 'Make The Clocks Move,' and that was the record some people paid attention too. So I decided to tour a lot in those intervening years, Europe especially, then, all of a sudden, it was 2006 and I was signed to Capitol, making a third record, not having a day job. I don't know how that happened. I guess from playing seven hundred shows in three years.
ATP: You were recently dropped by Capitol, what was the reasoning behind that?
KD: They got subsumed by Virgin. They swallowed Capitol to save EMI from some devastating profit loss. I got dropped, a lot of bands did. A lot of people got fired which was more serious. For me, I couldn't believe I was actually signed to Capitol; just being in LA, making a record and recording where Neil Young, Prince, The Doors had, I am so happy I got to do that. They really didn't know what to do with me before I got dropped. I don't exactly fit in the emo or indie thing. I do tours with mainstream singer/songwriters like Katie Tunstall, but I don't fit in there either. The economy collapses and people get caught up, I got caught up and I wasn't alone but I got some money, I got to make a record, I would have never got to make it the way we made it. I got the record back when I was dropped and now get to re-release it on Jesse's label.
ATP: So it was a good deal then?
KD: I have no complaints about it. It would have been nice if they pushed the record a little more but they didn't. It still worked out. I still got fans and a following which they helped me build and finance.
ATP: Your next record is out on Favorite Gentleman Records, how did that come about?
KD: I met those guys (Manchester Orchestra) through Brand New and we get along really well. Brand New, Manchester Orchestra, Brian Bonz, Color Revolt, mewithoutYou and bands I know from around here, those are people I consider for the first time in my life, a little crew. Manchester are a part of that and approached me about signing and asked if they could do my next record. It came around through talking. We gave it a shot, now everyone's excited.
ATP: Let’s touch on the new record, 'Brothers Blood,' (at this point Jesse joins us.)
KD: March 13-17th it looks like in the US. We are trying to find a label in the UK, hopefully June out there, and Europe. It’s more heavier and expansive at points. A lot of it came from a conversation I had with Jesse. When we spoke about it, I didn't know how to filter the pop, quiet and bad stuff, which I like, but I felt 'Put Your Ghost To Rest' was a pretty record. There wasn't a whole lot of loud on that record. Just patches. I always thought I had to do one or the other.
Jesse Lacey: My band runs into that a lot. We have more people writing, so you’re done, you run into the problem of having a wide variety of types of music. There are some points you have to edit yourself and say ‘this can't work,’ and have to exclude the song.
KD: I feel like 'Split the Country, Split The Street' feels too disjointed and songs I would keep off it, I could record now. But, the idea was to go back to be so stylistically uniformed and I think the record reflects that. There are still songs with just me and a guitar, flutes, three electric guitars. Lyrically it’s a record about conscience and why people do what they do, on a personal, social, romantic level. It’s about trying to look yourself in the face, and growing up a little bit, which is probably what all of my records are about to some extent. It’s a work in progress.
ATP: Would you say this is where Kevin Devine is today, with regards to the new album?
KD: I really love it but I think I'm my own worst critic and my worst fan, because every time I finish a record I think ‘this is the best record I have ever made.’ The next record, I say the same thing, but it’s not possible. I don't think I'm a genius or have made five brilliant records. I just think at the time I make them. I think the stuff I make is very observational about what's happening around me at the time, it's musically all of that, and connects with so much at the moment.
ATP: Any plans to release anything else on Procrastinate Records?
KD: We haven't talked about anything beyond the re-release of the record 'Put Your Ghost To Rest.’ I personally would just like to go back to make records with the people I am friends with but the answer is no.
ATP: Are you still signed to the label?
KD: That record is still on there.
JL: That record label thing is much more of an idea than an actual institution. It's more about trying to put out a record than having a record label. Not about trying to make money off of it. So it’s starting a label every time a record comes out, it’s nothing to do with a name and the people that work there. There would be no label if there was no person to put a record out. I'm not interested in having a label, nor my band either, just, if something comes along and we have some cash it’s just like, yeah, we can make a 7" or a record and it’s cool. It just adds fun to the whole thing we have going on.
KD: I want to have a career in music without having to deal with the music industry and if I can deal with my friends as a proxy for that industry, that’s fucking awesome. I don't think it’s always realistic, but from my perspective, from the Procrastinate thing, it’s really important for it to exist; to do that release was super important.
JL: It was important for me too, but that was the point.
KD: We were in a position where we were fucked with that record. We were so bummed. We really liked that record and were busting our asses touring a lot. Playing four hundred shows in two years, something like that. When they re-released the record, it kind of gave us a flare for a few months to like keep connecting, and it’s like 1500 have been bought since you (Jesse) pressed 1200. That’s a lot of people for a record that's three years old and people don't buy records in stores anymore; so it’s been great, and I'm glad it worked out the way it did.
ATP: You have got the record coming out next year, and a release date scheduled in the US, but nothing scheduled for Europe. Doesn't the current state of the industry scare you, like you said, no one buys records anymore. Records will leak online and people have grown up nowadays where, for example, the new Killers record just came out and people will say 'Oh the new Killers record is out? Great! I'm going to download that now'.
KD: No.
JL: (to Kevin) Have you ever made a dollar from a record sale?
KD: No, never, but I'm getting a royalty statement from Triple Crown!
JL: I've never made money off a record sale. I made money on a record advance, but that has to do with the industry. Companies investment in me, but I've never seen a return. For a band like us and Kevin to keep doing what we're doing is by doing shows. We used to tour pretty hard but by looking at Kevin's schedule, it’s like, his is completely relentless. I guess the point is, why charge a kid for a record? Give him an option, maybe. If he wanted to buy it at your show for $5-10, and getting the packaging, or wanting to buy it in a store. But if the quality of a music reaches a point online where it sounds as good as anywhere else, I mean, I don't like paying for records either; when it gets down to it, most of the time I don't. As long as kids keep coming to the shows, buying a ticket and wanting to experience the music with me, in a setting like this, then they can have it for free. They can give it to as many people as they want and that's fine with me. Why keep putting money from the actual piece of artwork into the hands of someone who really had nothing to do with it creatively, when we can share it with everyone. Then, hopefully, we make our living playing, which we all want to do in the first place.
KD: I totally agree. I think it’s going there, and I think they've been so slow and so pigheaded. It’s acting as if something’s changing where it’s actually changed. It’s interesting because I've met a lot of interesting people in this business, who have no clue of what is actually happening, but I think, from my perspective, that I don't sell enough records to make royalty checks. If I sell 10,000 copies of a record now, which is about what I sold for the most popular record I made, the most recent one. First of all that’s totally unbelievable, I'm sure that 40-50,000 people actually have it, that is, if i'm basing it off how many we have playing it on the MySpace every day and how many people come to the shows. There are more fans then there are people buying my music. As a start for me, I echo a lot what Jesse said. From my perspective, when I want to stop touring 200 days a year, because of my personal life; my goals changing or maybe I might wake up and stop liking music as much as I always have, it would be a decision because of those things, not because a kid didn't buy my record and downloaded it for free. Why would you buy it if you’re sixteen, living in fucking Cardiff, you don't know me personally and you had the choice to hear my record for free or pay £10 on iTunes. If you’re doing it for moralistic reasons, it’s nice, but people don't need to do that.
JL: It's cool that you said Cardiff and made it relevant to the region the interview is going too.
ATP: The only way I can see the industry going backwards is that the sale of vinyl is going up. A good example is that if you go on eBay, Brand New's 'Your Favorite Weapon' goes for a lot money.
JL: I understand, and we are hoping to re-release that, but the whole idea now is that people buy CDs because they want to have something physical, and an LP is a much better representation. It offers more opportunity for an artist to create something physical for a person to experience, rather than a CD. You can easily find the record online and have the music already incorporated into the music listening device you have, like burning a CD, putting it on your iPod, or on your computer. But if you want to own the album physically, go and buy the album. It’s cooler. You can actually have it, hold it and look through the pictures. It’s kind of the basic idea. It’s like having a 7" is one of the coolest things. I have a stack of 7"s and I don't even know what's even on them, I just know it’s the same old song that I love, and I've heard before, but it makes it a lot cooler to have.
ATP: If a kid buys an album at a show, a lot of the time they would just put it on their iPod and sell the CD on eBay or put it in their CD rack.
JL: The last four hundred CD's I bought, I probably only listened to them once and put it on my computer and that’s it. People need to start thinking that way, if you want to keep selling records, you can do it yourself; it’s really not that expensive. I was surprised when I went to press Kevin's record. It’s not that much money, especially if you can find a store who wants to buy a couple of hundred to sell for you. Why not? Whoever you are, even if no one has heard of your band, or if you’re one of the biggest acts in the world, go record two songs on whatever you can find to record it on, and put out a 7" or a CD single because you are adding to music. It’s awesome. If you’re going to put a record out, put out a 12" LP and slip in a CD in the forward so a kid can go out and have that. They can have the artwork and can burn the CD on their computer. The industry has always been ‘we need to stack these CD's ten deep on four shelves in Best Buy’ (US electronic superstore chain) and it doesn't work.
KD: I like the idea of putting the code in with the vinyl so you can go online and download the MP3s, because everyone has that little keepsake, and niche kind of market associated where people can download it and have it right there to listen too. It kills two birds with one stone and surprisingly, the indie rock labels are ahead of the major labels. They've been doing it for two-three years.
ATP: Maybe majors are just starting to get it. Warner are re-releasing My Chemical Romance's 'Three Cheers For Sweet Revenge' on vinyl where you get exclusive artwork, lyrics. That’s going to shift a lot of copies.
KD: I think it’s always going to be a valuable and thriving niche. It will always be, I don't know about vinyl replacing CD. Nobody is going to sell a million records again. It’s not going to go back to 1972, with Joni Mitchell selling ten million records. It’s going to be something that collectors and kids want to have physical.
JL: If you’re looking at new media and the whole idea behind the future of things, you should take a real queue from that because you’re seeing people who don't just want twelve songs on an iPod, they also want to experience something with it; something visually, something physically to hold, something like that. But if you are planning to move everything into an electronic venue, people should start thinking of ways to create an experience using that medium that’s just not music. You can't come out with a record ten years from now, you could, but it'll be kind of depressing. As if in ten years from now, you go on an online store and buy a record for $5-10 or free. It'll be a lot more interesting if you got a record and maybe a bunch of jpeg files, a photo book or some kind of website. I don't want to use these things as 'marketing tools' because that’s how they are using these things now, like where you get a download code for some kind of contest for a free t-shirt. It has to be something artistic; it has to be something that's a real experience, something you can experience on a computer. Start thinking about a live show also, because when you see band live that’s the one time you get to look at something and to make that into an experience. These are things I think about constantly, which we fall short of all the time, but, thinking about what we want to do, I hope people better than we are do it.
KD: I think for me, you’re not falling short when you’re a product of a period of transition. You’re trying to be ahead of a kerb which is perpetually redefining itself. I think your band (to Jesse) is actually pretty forward thinking with some of things you've done; with your presence from an online marketing perspective, like generating interests on your website. I, on the other hand, am so detached not from technology, I know how to use a computer and know what I have to do to get by in the world, but am the least imagistic person. I can be imagistic with words all day, but i'm not a visual thinker and not a technologically minded person at all. So, for me, as the definitive album experience changes, as peoples’ response to how they receive music changes, I'm still thinking, as in cassettes, about how I would want a song to start when the cassette is flipped over, when you press play.
JL: Because there's no second side on an iPod.
KD: That’s how my head works in a weird way. To me, this is how I want to hear it.
JL: When speaking about how recording and how people used to buy albums on vinyl, that was a limit. Literally, space was a limit of how long a record can be, so you would have a record that’s 35-40 minutes long but when you made it, you had to create it in a way where the songs would fit equally into two sides. It’s kind of making two mini records, like two beginnings and ends because people listen to one side and flip it over. Then it was tapes and CDs, granted you can fit more information on CD's, but after the physical limitation is gone, people can put out twenty song records and, when you do, 80% of that is complete crap.
KD: Self indulgent...
JL: Yeah. Limiting yourself in the quantity but respect the quality of it. The bands that I am friends with are very guilty of doing things like that. I mean, nineteen songs on a record? How much can you give someone in one purchase! We could easily talk about this for a long time.
ATP: Lets touch on a cliché question, where is your favourite place to tour?
KD: I like to tour in nice weather anywhere as you are not bound to the venue or van. I like Europe and England in the sense that, the city centre is pretty defined; you can follow the ring to get to the middle of the town and see the culture. American cities are spread out a lot.
ATP: London though, you'd have somewhere like Brixton Academy, which is far out from central London.
JL: Paris, New York and London are all becoming carbon copies of each other. Places that were separated by oceans and culture are just the same. It’s just as easy to find a Starbucks anywhere and get something whenever you want. It’s just as cool when your touring Europe, when you go to places that are not those cities and everyone says, 'How is Paris?' and you’re like, 'Um, it’s like New York except with different buildings and museums,’ but when you get to different places in between, that’s when it gets really interesting.
KD: That’s true. When you get to towns tucked away in places like Austria. When you get there, it’s like ‘The Sound Of Music.’ A mountain in the middle of downtown. You’re like ‘this is sick.’ It’s like in Canora in Canada; there are these towns where people are so stoked when you come through. You’re driving through, there is nothing at all but then you see a church, a VFW hall, a diner, a gas station and there is Canora. You’re playing then, this maybe terrible, but two hundred kids come out of the ground somewhere. Some of the most exciting people you've ever played in front of, but that’s one of my favourite things about touring.
JL: It’s harder to get reactions out of kids in larger cities because they are so used to like ten bands playing every day.
ATP: Despite the UK being so small, people get bummed when bands just play London, like when Brand New played Brixton Academy last time, a lot of people were disappointed, but when you get a band coming to Scotland, a lot of people are appreciative.
JL: Oh when we played Ireland, it felt like we went back to the first ever venue we played in New York.
ATP: Kind of like the second coming.
JL: Yeah, it felt like we had come home for the first time in 15 years. It felt like we had come back from the moon, it was such a great reception, by a bunch of kids we've never met before, and immediately we felt so welcome. When you feel that before you play and start your show, it’s a great experience. It’s hard to play Chicago. You have big shows there but, in a way, you are just punching your time card, because you've been there so much. It’s the same kids but you have to remind yourself, when you play so much, like Kevin, when you come back to a town like Dallas or London, you may play 200 shows this year so far, but that person, at that show, might have only seen you once. It’s not the 200th time they've heard that one song you’re playing, only once or twice before. For them, it has to be an experience. It’s not repetitive for them. You may see the same kid in the crowd, three days in a row and you think there are better things to do, like hiking in the woods. I don't understand. I want to talk to this kid and say, I promise there are better things to do in the world.
ATP: It must be flattering though for them to turn up wanting to see you every night.
KD: Oh, of course.
JL: It doesn't benefit you in an experience level after thirty days in a row. It’s just like go, watch TV, do something different!
ATP: Why hasn't this tour not come to the UK? You know for a fact tickets would sell out in a heartbeat.
KD: I'm down to do this tour whenever it presents itself, but it’s got to fit in to everyone’s plans. We've talked lately about doing it in different places, maybe we will or won't.
JL: I actually have a little bit of a complex about it. I feel like I can do it for a few weeks around the US, and the guys in my band can sit at home and take some time off, but the songs lack meaning without them. The songs lack when I play by myself compared to when we play as a band. I can still play alone; they don't have a problem with me playing one or two songs alone by myself. If I said this to them, they would say ‘you’re crazy, do whatever you want,’ but there is just a connection I have with them. Until we say, we are not going to do Brand New, I need them around.
ATP: Would you feel like people just come to see the front man of Brand New and take the spotlight away from artists such as Kevin?
JL: What Kevin does stands out for itself. I sometimes feel inferior going on stage after him. You can shake your head, but there is no doubt that Kevin is more experienced with playing music by himself. He's a better guitarist then I am and he makes things a lot more interesting than I do. Not to take anything away from me either. I can understand how people can think that, but after they see the show they can realise the really strong connection between me and Kevin and Brian. I care about their music just as much as mine, so it’s important for people to listen to them as much as they are listening to me.
KD: As far as my perspective goes, I'm well aware of the fact that if I go ahead and play with Brand New people are primarily there to see them. My job is to try and present myself to keep the mind interested in what I'm doing, until they get to enjoy the experience they were primarily there to have. That's what you’re doing when trying to connect with people. I am fully aware, when I play a headline tour and I see fifty people in the crowd wearing Brand New t-shirts, and talk to me and say they loved the tour with Jesse/Brand New etc, that’s the coolest shit in the world to me. Those are the tours I love the most. For me, the coolest thing about what they do as a band, like Color Revolt, Manchester Orchestra, mewithoutYou, is that they have given me the keys to a group of serious and passionate listeners. They might come in the door because these guys are so supportive and local but my job is for them to stay in the door for my own shit. Sometimes it works and sometime it doesn't, but I have no problem with people coming to say, 'I'm only here for Jesse and who’s Kevin Devine?' I think that's cool because they might turn around and say ‘I liked Kevin Devine’ or say ‘I never want to see him again’. I know what’s what and I'm thrilled. If I play a headline show with Brian (Bonz) and 300 people come out to see me and 150 walk away wanting see Brian when he's in town next without me, that's what it’s all about.
JL: Brand New hit a point four years ago when we didn't know what we were supposed to be doing. We started a band and let it take its course. We met tons of people and became associated with a lot of bands but just before we made 'Devil and God' we weren't even sure if we wanted to make another record. We realised all those people, we didn't want to be associated with them ever again. Our second realisation was that we had no friends and no one we cared about cared about us. Out of nowhere, the first four/five people we met after that became the first group of people that we love. That’s when I became good friends with Kevin. We met with Color Revolt, Mississippi, Thrice, mewithoutYou, Manchester Orchestra. Not bands that a lot of people had heard of, but we realised, not only just as individuals, that if you took any many member of those bands and put them in a room together alone, there would be no awkwardness at all. We created a small community. It just sort of happened, being in this group where everyone cared about each other and their music. I was excited getting ready to see them play, as much as I was getting ready to play myself, and seeing the way they react with the crowd. Everything revolved around that. We want to create things and share with people who are sharing, and this is what saved our band. Also, in the band we started to love each other a lot more too. It’s a hard thing to describe. That's why it’s so good to play shows, not just because kids are coming out, because...it sounds goofy, but we were hanging in Kevin's apartment last night, and walked to the venue today and play. It’s a pretty good life.
KD: That’s great. I actually have nothing to add to that.
ATP: Thanksgiving, holiday season, 2009. So, what’s the future for Kevin Devine?
KD: Um, besides playing now on Brian's songs, being accountable, being a good person, making good things and taking care of the people around me. I would like to meet a girl, not a priority. I got good friends, great family. If I can get keep that going, I'm doing okay.
- Jon Ableson
New UK Fall Out Boy Dates Announced
Mega-selling Pop-Punk band Fall Out Boy are set to return to the UK in March which will include the band's biggest UK show to date with a show at The 02 in London.
Thursday 5-Mar-09 UK Manchester, Manchester Evening News Arena
Friday 6-Mar-09 UK London, The O2 Arena
Saturday 7-Mar-09 UK Cardiff, Cardiff International Arena
Sunday 8-Mar-09 UK Brighton, The Brighton Centre
Outcry Collective Sign To Visible Noise
Visible Noise! have announced they have signed Outcry Collective who are are currently in the process of writing and recording our debut album for the label, which should see a release in spring next year.
November:
28th – Wantage, The SweatBox
29th – Rota, Notting Hill Arts Club (w/The Quarry, The Dead Formats, Munroe Effect)
30th – Cardiff, The Barfly
Review: Kevin Devine/Jesse Lacey - Music Hall Of Williamsburg - 25/11/08
The Music Hall Of Williamsburg in Brooklyn couldn't of been the best choice of a venue for tonight. The sound, lighting and layout can only be described as incredible of this intimate club and the choice of booking this amazing line up here is a job well done.
Tonight is a local show for both artists. Family and friends are here to show support only two days before thanksgiving. Tickets sold out only in a matter of minutes for this exclusive stripped show. With tickets exchanging hands for $100+, everyone is feeling a sense of privilege to be here.
As soon as the doors open, the Music Hall fills up to capacity in seconds. After a great set by Brooklyn local Brian Bonz, Kevin Devine takes the stage. Opening up with the self titled track from his forthcoming record, 'Brothers Blood', it leaves you with chills, and this only the first song into his set. Devine's set is a mixture of songs from his upcoming album and classics such as 'No Time Flat' and 'Another Bag of Bones' are a treat hearing live in person. During the set, with the help of Brian Bonz and another musician, they launch into an impromptu cover of Guns N Roses' 'Sweet Child of Mine' with the first verse and chorus. Devine brings his set to a close with Jesse Lacey, who accompanies him on guitar with tracks, 'Tomorrow's Just Too Late' and 'Ballgame' which they mix into Brand New classic 'Tautou'. This is possibly the highlight of Kevin Devine's set.
Up next is Brand New frontman, Jesse Lacey who kicks off with new album demo, 'Untitled 01' and goes straight into Deja Entendu classic, 'Boy Who Blocked His Own Shot'. At this point the whole venue turns into one giant sing-a-long. After a terrific performance of 'Luca', Kevin Devine joins Lacey in a duet of 'Play Crack The Sky'. To hear this fantastic song with Devine's incredible vocals is nothing short but moving. The duo treat the crowd to Bruce Springsteen cover 'Thunder Road' which is possibly one of the best covers done to date. The highlight of Jesse Lacey's set is when Brian Bonz rejoins the duo for a stripped down version of 'Jesus Christ'. Talent doesn't come any stronger than this.
Line ups like this do not come any bigger than this. Tonight's show seemed more like a few friends hanging out and jamming to a small local hometown crowd. Kevin Devine is one of the best singer/songwriters going at the moment. His mix of acoustic/political/melodic rock is underrated. When 'Brothers Blood' comes out, sooner the better, it could be the record which makes his career and at this point in time, touring is the priority. Jesse Lacey on the other hand, is going to have his hands full with the forthcoming Brand New album out next year. The only thing you say to yourself is, 'its not fair the UK doesn't get shows like this!'
Machine Head signing session announced
Phil Demmel, guitarist from Machine head, will be taking part in an in-store signing session at Guitar Guitar, Newcastle on December 11.
Phil will be there to meet fans and sign autographs at 1pm
For more details, click here.
Billy Talent talk about their new record
Canadian heroes of modern-day punk-rock Billy Talent are currently gearing up to head into the studio and record the follow up to 2006’s ‘II’.
The band say that, with their third album, “people can expect the best Billy Talent record so far!” and they’ve “never been more excited for any project.” Whilst the album is as yet untitled, word from the guys suggests that it will continue the numerical theme set by their sophomore album by being named ‘III’, ‘3’ or ‘Three’.
The rip-roaring rock perfection of ‘II’ propelled the band to new heights of success. The chemistry between band members is indestructible as a result of fifteen years being in a band together and as Billy Talent look to the next step, fans can expect something truly special from them teaming up with famed producer Brendan O’Brien.
The band say – "We are so stoked to have the opportunity to work with Brendan O'Brien... he has done some amazing records! All we got to say is listen to ‘Evil Empire’ and ‘The Battle of Los Angeles’ by Rage Against The Machine and that's why we're excited. For the first time ever we are not recording in Canada... we're heading out to LA in December to start tracking drums at Henson Studios... it has an amazing drum room.”Talent are well prepared to hit the studio having finished most of the music for the fourteen tracks they’re planning to record with the lyrics about halfway to completion already. Tentative song titles include‘White Sparrows’, ‘Sudden Movements’ and ‘Tears into Wine’.
The new album is due out on Atlantic Records in 2009.
TDR Records Release Sampler
A TDR Records sampler featuring The Promise Hero, Mayfield and The Prize Fighter can be found here.
Alcopop Records Announce Christmas Show
Alcopop Records have announced the line-up for this year's Christmas show on the 15th of December at The Social in London.
The line-up:
Sam Isaac
Stars and Sons
Pavillion
Nima (ex-Hush the Many now with Arrows of Love).
More details can be found here.
The Get Up Kids To Play The Bamboozle
The Get Up Kids have been just one of the many added to The Bamboozle line-up.
The full line-up so far:
3OH!3, A Rocket To The Moon,Ace Enders And A Million Different People,All Time Low, Bayside,Bloodhound Gang, Boys Like Girls, Brokencyde, Cobra Starship, Danger Radio, Enter Shikari,Face To Face, Fall Out Boy,Forever The Sickest Kids, GWAR, Hyper Crush, Mac Lethal,Mercy Mercedes, NeverShoutNever!, New Found Glory, No Doubt, Parkway Drive, Scotty Don't, Sonny, The Cab and We The Kings.
Billie Joe Talks About New Green Day Album
Green Day frontmat, Billie Joe Armstrong has talked about the band's forthcoming album. In the interview with Alternative Press can be read here.
Bouncing Souls Studio Update
The Bouncing Souls have given a studio update on their next album.
"Hi everyone, the songs are coming out awesome, better even than our own expectations, and we're STOKED! We tracked all the drums and bass at the Magic Shop in NYC, and have since been passing the days in Kate's basement (a.k.a. "Little Eden Studios" ) here in Asbury Park NJ. Most of the guitars are done and some of the vocals so far. Stay tuned right here for more info on the 2009 release of these 12 new badass Souls tunes to keep your soul satisfied."
A Skylit Drive Debut New Video
The video for the A Skylit Drive track, "This Isn't The End" can be seen here.
More Acts Announced to Bamboozle Line-Up
New Found Glory, Cobra Starhsip, Ace Enders and A Million Different People, GWAR, 3OH!3, We The Kings, Bloodhound Gang, Hyper Crush and Mac Lethal have been added to The Bamboozle line-up.
As previously reported Fall Out Boy and No Doubt will headline the New Jersey festival in May.
In addition Bamboozle-related event, The Hoodwink has announced New Found Glory are set to play a set of Green Day songs, whilst Badfish will pay tribute to Sublime. Both are these sets will take place at New Jersey date of the Hoodwink at the Meadowlands Sports Complex on May 1st.
The Bamboozle website are announcing new acts every half hour.
First Aid Kit Set To Release New EP
Swedish folk duo First Aid Kit are set to release a new EP called "'Drunken Trees" early next year and have just released a Christmas song called "Blue Christmas", which can be seen here.
Album Review: The Malheruex - Nightmares EP
The Malheruex are a five piece rock band from Los Angeles, CA who recently released their new EP called "Nightmares" and was produced by Jim Wirt, who has produced for bands such as Incubus and The Rocket Summer.
The band is made up of Chris Castillo on lead vocals, as well guitar, Adrian Ocampo (guitar), Omar Loera (bass), Carlos Sanchez (drums) and former guitarist and backing vocals performed by John Alaimo, who has since been replaced by Matt Siordia.
The 4 track EP starts off with title track "Nightmares" with it's riff-led guitar parts and straining vocals that are reminiscent of early Taking Back Sunday before going into a catchy chorus and that will probably stay in your head for a few days, despite the somewhat "emo" lyrics of "I will die for you".
"Flip The Switch" is a fast-paced bassy affair with subtle synth parts. However the vocals fail to grab the listener and just help the song move along. While track 3 is "Drowning In Numbers" is quite an angry track and you can hear the bitterness in vocalist Chris Castillo's voice . The track also sees the inclusion of gang vocals and comes off as a positive song.
The EP closes with "Dust" is a dark, eerie track with begins with a deep, heavy guitar before the band screams and shouts it's head off until Castillo's vocals bring some form of calm to the track with a well-paced melody.
On the whole The Malheruex write good, solid rock songs. However in this day and age, good songs unfortunately get you nowhere. Which is a shame for a band as talented as this, especially with well-crafted songs. It's disappointing that The Malheruex will probably put in the 'sounds like Saosin' bracket, in a time when a small band like this, struggle to get major exposure when they should be on the same level as the latter-mentioned band.
4/5
Links:
Myspace
Purevolume
Buzznet
Facebook
LynZ of Mindless Self Indulgence pulls out of Kerrang Tour
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Bassist LynZ of Mindless Self Indulgence has pulled out of the upcoming Kerrang Tour due to her and her husband (Gerard Way of My Chemical Romance) expecting their first child in the summer.
According to the band's myspace blog, LynZ and Gerard are not the only couple to be expecting a baby on the way:
"As some of you may have heard, we are thrilled to announce TWO new additions to the Mindless Self Indulgence family. In addition to MSI's bassist LynZ and her husband Gerard, MSI's guitarist Steve and his partner Lucinda have announced that they are each expecting babies late in the spring of 2009. This will be the first child for both Steve and Lucinda, as well as LynZ and Gerard. It is very important that you hear this from us first and believe nothing to the contrary: While we will ask some of our friends to fill in for LynZ - and at a later date, Steve - so that they can be with their new families, neither member is leaving Mindless Self Indulgence permanently."
Mindless Self Indulgence are still to headline the Kerrang Tour regardless of LynZ's absence.
Soulfly announce UK 2009 Tour
Metal band, Soulfly have announced details of a UK tour next year.
The band are due to play 11 dates across the country, including a date at Camden's Electric Ballroom.
Dates are as follows:
February:
01 Portsmouth, Pyramid Centre
02 Oxford, Zodiac
03 Bristol, Academy
04 Dublin, Academy
05 Belfast, Spring & Airbrake
06 Glasgow, ABC
07 Manchester, Academy 2
08 Leeds, Cockpit
09 Nottingham, Rock City
10 Wolverhampton, Wulfrun Hall
11 London, Electric Ballroom
New Kevin Devine Song
A new Kevin Devine song called "I Could Be With Anyone" can be heard here.
Kevin Devine's new album "Brother's Blood" is set for an early 2009 on Favorite Gentlemen Records.
Poison The Well begin recording new album
Miami's Poison The Well have just announced they have, as of today, begun recording their upcoming full-length for Ferret Records due out in May 2009. Unfortunately, due to a family emergency, J Robbins will be unable to aid in the recording process (our thoughts are with the Robbins family), however the band has tapped good friend Steve Everetts (Dillinger Escape Plan, Kid Dynamite, Every Time I Die) to step in and lend his very talented, helping hand.
SaidMike! To Release Christmas Single
Welsh Powerpop band SaidMike! have posted their Christmas single, "I'll Be Fine At Christmas" is now streaming on their myspace and will be released on December 22nd.
Isis Give Studio Update
Post-Metal band Isis have given a studio update on thier forthcoming album.
"Well, so far, so good! We're a little over half way done tracking our new record. It's nice to hear the songs beginning to really come together. Everyone has been doing a great job and we think it's all going to make for one hell of a record. Working with Joe has been a really cool experience. He has a great ear, provides a very comfortable and creative environment, and seems to really understand what we're after."
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