Posted on AlterThePress.com in November 2009
Experimental indie rock band Person L released their 2nd album ‘The Positives’. Alter The Press! talked Person L frontman KennyVasoli about the bands new album, its vinyl release, their UK deal withSyclla Records and more.
ATP: You’ve just released ‘The Positives’. What can fans expect to hear from the album?
Kenny Vasoli: It’s probably best to come into the record with no expectations. This record goes everywhere that we wanted to go, I’m very proud of how it turned out.
ATP: How has the reaction been so far?
KV: Its been great so far, just about all the feedback we’ve heard has been very positive. People have been very kind.
ATP: The new album has that rough sound but at the same time soundsaccessible. Was this something you had planned from the start?
KV: We definitely planned to make a realistic sounding garage-type record, at the same time we wanted it to have a lot of texture and color.
ATP: It also a record that covers various genres and has bits of experimentation. Is this an idea you want to expand on in the future?
KV: t also a record that covers various genres and has bits of experimentation. Is this an idea you want to expand on in the future?
ATP: How would you advise listeners to approach the album?
KV: I’d urge everyone to keep an open mind and not compare it to bands that we’ve been in before. It needs to be heard objectively. The record is a wild ride if you let yourself go on it.
ATP: You’ve also recently released the record on vinyl. Are you fans of vinyl and if so why?
KV: I LOVE vinyl. My collection keeps growing. It always makes the album sound so warm. For older records especially, they sound the way they were meant to be heard. So many times I find details that I never noticed on any other format.
ATP: In a recent interview I read you were a fan of the ‘pay-what-you-like’ idea. Would this be a route you’d go in the future?
KV: Possibly. I have a project I’m planning to release sometime next year, it could be a good candidate for a pay-what-you-like release.
ATP: In the UK you’re releasing the record on Syclla Records. Could you tell us how you hooked up with the label?
KV: I came to know them through the grapevine, I believe they were in touch with the Academy Fight Song. I’m glad we linked up, they’ve been great to us.
ATP: When can we expect to see Person L in the UK?
KV: As soon as possible, nothing is booked yet but it’s definitely on our agenda.
ATP: How have the recent shows been with John Noland and BrianBonz?
KV: They’ve been a lot of fun. We all get along swimmingly and have a great time together. The crowds have been very sweet to us as well.
ATP: How would you describe a normal Person L show?
KV: We always aim to be high energy. I like to dance and shake and freak out. We have a lot of fun on that stage together and I think that is clear to anyone watching.
ATP: As we come to end of the year, what is your music-related recommendation for 2010?
KV: The new Phoenix album is phenomenal, might be my album of the year pick.
Person L on MySpace
‘The Positives’ is available digitally on Syclla Records in the UK and will have its physical release next month.
Posted on AlterThePress.com in November 2009.
Alter The Press! recently talked to Tom Beck of small British independent label, Walnut Tree Records. In just over 2 years WTR has released records from Alter The Press!” favourites Portman, Waiting For Sirens (now known as Towers) and up and coming UK bands Bayonets and Tiger Please. The label also recently welcomed Viva Sleep to its roster.
In this in-depth interview Beck talks about the labels beginnings, the recent ‘Un-Scene 5’ compilation with Punktastic Records, his thoughts on the music industry, how the label nearly came to an earlier this year and much more.
ATP: So Tom could you tell us how Walnut Tree Records started? I understand it started out as a zine?
Walnut Tree Records: That’s right; it originally started off the back of my per-zine The Walnut Tree. I’d been reviewing releases and interviewing bands for a number of websites for a while but I wanted somewhere to house the pieces I was writing outside of music, especially about places I’ve been and the funny things I’ve seen, so started a small zine and sold them to friends and family and whoever would give me a chance on Punktastic. As such it wasn’t related to music at all, although the first draft I did had some quick reviews of bands like The Maple State, Armor For Sleep and strangely even He Is Legend, but I decided that others were covering music already and I wanted mine to be a bit more interesting. I then used the name, The Walnut Tree, to start a distro where I’d sell smaller American pop-punk releases to people in the UK at cost price. I had some pretty cool releases such as the Four Year Strong album, the Valencia album, Daggermouth’s first two albums and sold every single copy that I imported. Unfortunately a band called Rushmore Academy decided to take my money and never send me their CDs to sell – so I came out of the whole thing £70 down, it was pretty upsetting. The band would go missing for months between replies and then eventually broke up and I never did get that money back. I then lost interest in the distro and thought I’d try my hand at putting out my own releases by UK bands.
ATP: Why did you decide to form a label and stop the zine?
WTR: I wanted to be more involved in the whole process of finding new bands, working out their releases, promoting the finished products etc. I was working on a different genre of music in my full time job and was falling out of love with music a little and wanted that to change. This coincided with losing the money on the Rushmore Academy deal and I just sat there and thought that I’d be a better job at it and started looking for UK bands to help. The zine still continues in spirit though and I’m always pretending to write the next issue of it, but whether that’ll see the light of day yet I’m not sure. As it’s not music related I don’t think it’ll have any impact on the label.
ATP: Was running your own label a long time aim or did it just happened?
WTR: I can’t really pretend that I’ve always wanted to be running a label. I’d been involved in music for a number of years but never really thought about starting a label. I guess before finishing University I never had the money to do anything like this and just looked to write as much as I could, sell merch for bands, anything that didn’t involve spending my student loan quickly basically. Once I’d left university and started working I suddenly had more money than I’d ever had and starting a distro and then a label seemed like a good idea. Thinking back it was a good decision, as I’d have only spent that money on computer games and imported CDs.
ATP: How would you define Walnut Tree Records as a label?
WTR: Without trying to talk it down, it’s essentially a hobby for me and it will probably continue to be while it makes financial sense. I need to be working full time to support myself and I couldn’t rely on the label to do that right now. I’ve never wanted to borrow money to make this label possible and that’s really important to me. I’d love to follow in the footsteps of Mark at LAB Records and work full time at this, but I can’t see that happening. That doesn’t stop me being ambitious though and really giving this label a go. Take my first release out of the equation and I’d like to think that people see this label as being a credible way of finding some new and exciting UK bands out. I’ve taken on bands that don’t fit perfectly into one bracket and weren’t well known at the time and I’d like to think that I’ve given them all the chance to reach new audiences. Hopefully people realise that I’m not pretending to run this all conquering professionally run label, it’s just me in my bedroom / office trying to make it work.
ATP: In early days of the label you worked with No Order Records and Pep Rock Records. What did this deal involve?
WTR: I started off by working with Andrew at No Order Records – we were both interested in working with the band Paige and neither of us really wanted to stand in the way of the other and take the band. At the time it would have meant that one of us would have taken the “glory” and the other would still be looking for their first band and I don’t think we had the heart to do that to each other. I’m good friends with Andrew and I didn’t want to turn anything into a fight, so we thought we’d join forces and combine our ideas and our resources. The band were supportive of this idea as it meant twice the effort and a little more financial freedom. There wasn’t a deal as such, which was a little naive but I trusted Andrew and I can only assume he trusted me. I thought this would be a good way to get my foot in the door as a label and meant I wasn’t trying to work stuff out on my own. Despite the problems with the band itself the labels have always been on very good terms. Sadly No Order hasn’t released a record since, but I think that’s more down to Andrew’s career not really giving him the time to get involved in more projects.
The situation with Pep Rock Records for our Portman release is a very similar story. The band approached both labels and we all wanted to get involved and make the album a possibility. Pep Rock had already released the Down For The Count album in the UK and at the time I thought that working with them would only be a benefit for my label. Again the trust was there all round and this time it worked well because Portman were awesome guys to work with.
While both deals worked well at times, and struggled at others, I think they helped Walnut Tree Records take off and find its feet. I wouldn’t look to get involved in something similar now though, I feel I’ve come on considerably as a label and I’m more than confident in my own abilities to take full control over bands and releases and still get very good results. I also really enjoy the freedom of coming up with a new idea, and then 10 minutes later it’s implemented and we’re onto the next idea.
ATP: Since then you’ve signed bands such as Portman, Bayonets, Towers (formerly Waiting For Sirens) and more recently Tiger Please and Viva Sleep. Could you tell how you managed to work with each of these bands?
WTR: Portman are probably the most interesting of all of the signings. A few years ago now I was writing for a webzine called Static Domain and the editor sent me CDs to review. Just before leaving to go to Reading festival “Expired By Convention” by Dutch Oven turned up, I gave it a quick listen and absolutely loved it, wrote a great review of it and uploaded it to the site. I forgot all about it for a while and one night at University I went to see Get Cape. Wear Cape. Fly at the Phoenix in Manchester and my friend pointed out that one of the tracks played by the DJ was by a band called Portman (who’d recently just changed their name from Dutch Oven). As they were unheard of at the time I thought I’d go and ask him how he knew the band…little did I know that he was living with Toby (Portman’s bassist) and they were stood next to each other. Introduced myself and was pretty shocked to hear that Toby knew exactly who I was and started talking about the review I’d written a while back. It was just one of those chance meetings and if I hadn’t talked to the DJ I would probably have never met Toby. I think he went and phoned all the band and I was lauded as a bit of a hero from day one for giving them such a great review. It was surreal. The band have treated me really well since then and they’re some of the nicest and most genuine guys you’ll meet. It took a few more years before the label started and they got back in contact again, and they were still as good as I’d remembered them.
Waiting For Sirens (now called Towers) were next up and it was a little more straight forward! They’d already recorded their EP and had been sending it around to a few labels (I think Pep Rock and No Order Records were amongst those!) and getting barely any response. I’ll be honest and say that the first time they contacted me I ignored it. I’m not a big fan of being asked to listen to new bands; I prefer to find them on my own time and make of them what I will. I then saw that they were due to support my first signing, Paige, in their home town and I thought I’d ask Paige what they thought and they gave glowing references. Thought I should then check out the EP and really enjoyed it when I did, and struck up a good relationship with lead singer Tom George. After going down to stay at his house (on the floor in the spare room!) and watching them headline Unit in Southampton I thought I’d go for it.
Toby from Portman had a big part to play in my signing of Bayonets. At the time I’d just had a low spell with releasing Paige and was desperate to move on and find a replacement for them immediately, but was struggling. He’d suggested checking out the Orange Act Unsigned website as you could search through bands by their influences. I was loving Manchester Orchestra at the time so thought I’d see which bands were influenced by them and the search result was pretty disappointing as only one band came back to me. I thought I’d give them the benefit of the doubt….and was blown away within about 6 seconds. After a lot of msn chatting with bass player Matt I drove up to Hereford to see them, discussed football manager with Thom, and then drove back in thick fog and really wanted to be involved with the band. Luckily they seemed keen and I was able to put out their EP.
Tiger Please and Viva Sleep were signed practically on the same day and through the same path too. Tiger Please’ manager, Ryan, contacted me to ask if the band could be included on Punktastic Un-Scene 5 and I was really impressed with the band, their songs and their manager (this is important to me, especially after dealing with some horrendous managers with previous bands) from the off. Viva Sleep on the other hand, Neil from the band also asked me if they could be on Un-Scene 5 and I knew of him through his work recording Waiting For Sirens EP and was pleasantly surprised when I first listened to them and found they were exactly to my tastes. Neil especially loves bands like Hey Mercedes and I really hear that in their tracks. We let Un-Scene 5 run it’s course but during that time I was still talking a lot to both guys and was thrilled when they almost simultaneously (but unknown to each other) said they’d like their bands to work more with the label. Not only did I love the tracks that they’d both sent me, but they’d both been in bands in the past that I grew up listening to and really respect, so to have that respect back was a massive boost for myself and the label.
ATP: What do you look for in a band that you could possibly sign?
WTR: It’s pretty simple really – I just have to love the band and trust in them as people and what they want to do with their band. I never really consider whether I think that legions of other people will like them or not, I’m the one that will be putting the work in with them and it’ll be my finances…so if I’m happy to do it then it’s a good decision for the label. I’m sure that would change if this label was run strictly as a business and I had to worry about profits and breaking even to survive, but that’s not the case with Walnut Tree Records. It has to be enjoyable and if I don’t think that will always be the case then I’m happy to let the band find other labels.
ATP: Earlier this year you were thinking of closing the label. First of all what were the reason for this?
WTR: Mainly because I felt I was failing as a label. Despite putting out some really good releases, no one seemed to care in my mind. I was reaching the same dedicated group of people but those people weren’t enough to keep the label afloat and allow it to be enjoyable. I was struggling to get any coverage outside of Punktastic and Alter The Press (both have been saviours to this label at one time or another) and I’d hit a brick wall. It bummed me out to be honest and I’d sit there trying to work out new ways to climb that wall, and when they didn’t work I’d then think maybe I should be tunnelling under the wall, or trying to walk through it. I was trying everything and nothing was working. I had decided that I’d finish on a high with the Un-Scene release and would then tell everyone on September 1st this year that I was calling it a day. I was going away during that month so it seemed like a good time to call it all off and just enjoy myself.
ATP: Were there any events or motives that made you decide to continue the label?
WTR: I’d told all of my bands and they understood why I was making that decision. I’d also let slip to a few others and more than likely questioned the decision on twitter too, I do that a lot. Then out of nowhere Bayonet’s had coverage in Kerrang and Rock Sound and that’s when the labels fortunes turned. It meant a lot to me that people I really respected were getting in contact with me and were willing to help the label out too. It was a massive relief to finally have something to show for my efforts. I know that getting coverage in printed magazines isn’t the be all and end all of running a record label, but once that had happened everything else seemed to be falling back into place. You also find that a lot more people take notice of you once you’ve made that first impact. The whole period around that gave me a massive shot of confidence, which I really needed, and I’ve not looked back since.
ATP: You also joined up with Punktastic Recordings to release the ‘Un-Scene 5’ compilation. Paul (Savage of Punktastic Recordings) told me you came up with the idea. How did the compilation come together?
WTR: I’ve wanted to do a download release for a while and never really had the material to make that happen. With such a small group of bands there are only so many tracks we can give away for free before we’re all out. I’ve been a big fan of the Un-scene series since day one and remember how excited I was when some of my friends bands were being included, like Echo Freddy, and was always a little envious that I was never in a band to be included on such releases. I knew that Paul was looking to get back into releasing music and I’ve got a very good email relationship with him and just thought I’d see what he made of the idea. I was happy to do the bulk of the organising too as I felt it would be a great release for the label to be involved with. I can’t take credit for the charity idea though, that was firmly Paul’s take on the release and one I was only too happy to use.
ATP: You offered ‘Un-Scene 5’ as a ‘pay what you want’ download. What are your thoughts on this method?
WTR: With this release it was more of a “donate as much as you want” – as the download itself was free, but we encouraged people to help us support Everyman cancer campaign by donating something. I’m not a big fan of the ‘pay what you want’ method though, which will probably seem incredibly outdated to people. The way I see it is that you can preview a fair few records on Spotify or Myspace for free these days and that should give you a good indication of whether or not you want to have un-restricted access to it – if that then means buying the record for the price that the band or label sets then so be it. I’m sure it works well for a band like Radiohead, with their huge fanbase, but I can’t see it having the same impact on a band like Tiger Please.
ATP: Are methods like this are a strong sign of how the music industry is changing?
WTR: I guess so, but when has the music industry ever kept still? Despite what the critics says it’s still a progressive industry and the major label I work at in particular are at the forefront of many new approaches and adoptions of technology. I think people have this poorly founded opinion that major labels are reliant on just selling physical CDs and downloads, it’s so far from the truth though. I’m sure the music industry will change changed significantly by the next time I’m interviewed too.
ATP: Since starting label, how has your perspective of the music industry changed?
WTR: Very little really, but I’d say that’s because I was already involved in this industry before starting Walnut Tree Records. While I’m not the guru on the industry I still have a fairly good idea about how it works, the types of people you’ll encounter, the different paths to success etc. I was a bit naïve when I first started the label but I was always going to have to learn the hard way at times. It’s a massive benefit to the label that I’m working full time in music, it’s opened a lot of doors for me.
ATP: Do you think online services like Spotify and MySpace are becoming more influential or have potential of becoming more influential then traditional methods like CD, Magazines and Newspapers?
WTR: I think the services are playing a vital part in the development of the industry, but there is still a lot of emphasis placed on the availability of a physical CD by all involved in music. I can definitely say that Tiger Please have had considerably more interest as a result of having their mini album pressed than they’d have ever had if we’d only released their record on Spotify. I also wouldn’t talk down the importance of magazines and newspapers – while their readerships might be falling in some cases, you’ll be surprised at how many people see good coverage in magazines as an indication of whether they should be interested in the band. Tour bookers and promoters especially like to see that people can buy your CD in HMV, and that Kerrang say that you’re worth listening to, as then the chances are more people are going to want to pay money to see your band. I know that bands like You Me At Six have benefitted from a great myspace profile and fan base, but to take them up onto the big leagues they were also getting great coverage in magazines and had always talked about having an album for sale “soon”, which kept people interested. There is only so much you can achieve on Myspace and Spofity I think.
ATP: Your label has always made good use of using online press outlets (like ours). Do you think these are more important for a label like Walnut Tree Records?
WTR: As I said earlier, Alter The Press and Punktastic have been a huge help for this label and I’ve never really understood why labels haven’t made better use of the sites. The Alter The Press RSS and twitter feeds mean that the news will be read by hundreds of people in an instant and sometimes I’ve only just approached you about including it. Some of the larger webzines and magazines seem to have more barriers to entry and a time delay to factor into the equation, and there’s no guarantee that people will pay any more attention to that coverage. The thing I like about online press is the ability to integrate your news story with links to hear the band immediately and then be able to buy their release seconds later. It’s that instant access that you’d love everyone to have when you try pushing a band onto them. It worked a treat with me recently as I’d read the Pharaohs track by track on your site and then just instantly clicked through and bought their new EP, and 5 minutes before I hadn’t ever heard them.
ATP: As already mentioned you’ve recently signed Tiger Please and Viva Sleep. Is this a sign of a revival for the label and what can we expect from the label in 2010?
WTR: I hope so. I definitely have more of a plan about my label now and the confidence to make ideas happen. I’ve been talking to three bands recently about releases I’d like to be involved with and if they all come off then Walnut Tree Records is going from strength to strength. One release in particular might turn a few heads and I’m sure it’ll get the UK scene talking. If they don’t come off then I’ll get other opportunities. I just want to make sure that anything I do is right for the label and right for me as a person too, so if that means waiting a while then I’ll happily do that.
ATP: As a one-man label, do you have any advice for people who may want to follow in your footsteps and form their own label?
WTR: Stick within your means and make sure that you’re working with bands and managers that you can trust. For a one man label you’re realistically going to be running it as a hobby for the first few years (unless you’re loaded!) and you’ll want to make sure you’re enjoying it. I wouldn’t expect any immediate results or gratification either, it can take a while to find your feet and work out the different ways to get your label and the bands noticed. It’s not always going to work out for people, but if you’ve stuck to what you can afford then it’s not the end of the world. If you’re not happy to lose say £500, then don’t risk it by investing it into a release that you’re not overly convinced by, it’ll only cause you anguish if you don’t make that money back. Another good piece of advice is to use sites like Alter The Press, it works!
ATP: When you started the label, were there any labels that influenced you and your approach to running a label?
WTR: I think very few people will have heard of Calamity Records, but Dan put out a great compilation a few years back and that release definitely influenced me. The compilation included this great band called Cavil At Rest, as well as introducing me to Sherwood for the first time. Sadly he moved into other areas, but I still go back and listen to that compilation. I also took a lot of inspiration from No Order Record’s first compilation and the work of Paul’s Punktastic Recordings. They were more accessible than the likes of Drive Thru Records or Vagrant and showed me that the UK still had a lot to offer. Since the label has been up and running I’ve had great relationships with Rich at Scylla Records and Mark at LAB Records. I think those two guys realise that there isn’t this competition between the labels and that we’re all there to help and support each other. Both are doing a brilliant job too in their own ways and it would be great if they thought similar of me and my label. They were also really supportive when I had issues with my first signing and both have included my bands on compilation releases in the past two years. In terms of UK labels you’ve always got to look to BSM and the work that Kevin puts in too, and again he’s always up for helping you whenever you need it.
ATP: As a small label how difficult is it for your bands to be noticed without having large financial backing?
WTR: Having a larger pot of money would definitely help me out, but I’d like to think that my work with Bayonets and Tiger Please have shown you that you don’t always have to pump money into bands to get them noticed by magazines, managers, tour bookers etc. Okay so these bands haven’t broken into the mainstream just yet, but our work has definitely pushed them up a few levels. Hopefully they agree too. At the same time there are plenty of examples of where people have pushed money into bands and labels and they’ve flopped big time. The industry isn’t a meritocracy though and I’m sure having a shed load of money is always going to help you out, but you still need to be playing music that people want to hear at the end of the day.
ATP: Is there anything you would go back and change about Walnut Tree Records?
WTR: It would be very easy here to say “Yes, I wouldn’t have released the Paige EP”, but to be honest it made WTR a stronger label at the end of it. It also taught me to make sure that I surround myself with the right people in future and focus on the individuals involved with bands before committing myself. I didn’t enjoy any second of the experience though, and I came so close to just throwing it all away and that would have been a shame. It did show me thought that I had a lot of support from people, some of whom I would have never expected it from, and that’s why I carried it on. I’m proud of the rest of my releases though and think I did the best job I could at the time with them.
ATP: Who would be your dream signing for the label?
WTR: I think I should probably stick to the ethos of the label here and talk about UK bands, it’d be very easy to say Blink-182 and New Found Glory though in hindsight but I’d never have stood a chance with either. I’d have loved to have been involved with A’s album “A vs. Monkey Kong”, I still listen to that a lot years later. It’s one of those albums, like with my Portman releases, where you’ll find a lot to love on it but at the same time you can understand why people aren’t so keen. Jason Perry’s vocals are a bit grating it has to be said, but they sit well with me. I can’t forget “Learning to Play with…” by Captain Everything too, especially since I’ve seen John and Lew down at Watford games in the past!
If we were to include overseas bands then I could talk all day about bands like Hey Mercedes, Hot Rod Circuit, Piebald, The Junior Varsity etc. All underappreciated bands who would have benefitted from having a bit more support in the UK. Unfortunately they’ve all broken up now though!
ATP: Are there any final words you’d like to say to round things off?
WTR: Thanks to Alter The Press! for all of your support , it means a lot to myself and my bands. Keep up the good work!
Walnut Tree Records Online Store
Walnut Tree Records on Myspace
Walnut Tree Bands:
Bayonets
Tiger Please
Portman
Viva Sleep
Towers
Posted on AlterThePress.com in November 2009
This week Southampton-based piano-playing singer-songwriter Luke Leighfield is to release his 3rd full-length album, ‘Have You Got Heart?’.
Since 2006 Leighfield has played hundreds of gigs both at home and abroad, going as far as Russia and China. In addition to this, in 2008 he played at the Latitude Festival and The Great Escape Festival, as well as radio airplay on BBC Radio One, XFM and BBC 6 Music.
This was all done whilst completeing a Degree in English and Music at the University in Southampton, which he completed with 2.1 honours earlier this year.
Alter The Press! recently spoke to Luke about the new album, offering the album as a free download, running his own label, playing shows in China and Russia, being a full-time student and touring musician at the same time and much more.
ATP: So Luke you’re just about to release your new album ‘Have You Got Heart?’ What can we expect from your 3rd album?
Luke: The main difference with this album is that there’s a lot more guitar on the record. With the first album I tried to basically use no guitar, and my first foray into having guitar on my music was on my second album. With this album I wanted it to sound pretty rocky so I found a great guitarist and basically made him play wicked stuff all over the album. Apart from that, the production is a lot better than my old albums. Pete Miles did a great job of mixing the ridiculous amount of instruments on the record and it sounds sick. It’s just a big more full-on than than the previous albums, but essentially a continuation of what I was already doing.
ATP: I understand ‘Have You Got Heart?’ has a more grand sound with trumpets, trombones and even a choir being used. Could you expand on this?
L:Well basically it’s not a lot different to the instrumentation on my previous albums. However, the difference is that all the brass and strings are kind of used throughout each song, as opposed to just being brought in at the end of tracks to give them epic endings. So the songs are written in more of a full band sense throughout the song, rather than being me playing solo with stuff tacked on top, if that makes sense? As for the choir, it was basically just everyone on the album stuck round a mic singing like rowdy football hooligans.
ATP: For those who may have not heard your music before, how would you describe your sound?
L: Obviously it’s piano-based, so you can compare it to Ben Folds, Jacks Mannequin and The Rocket Summer. Then there’s a rocky slant that I like to say is a bit Paramore-esque. Then there’s loads of ridiculous eighties-influenced guitar and drum bits that come from my love of Queen and Toto. So it’s basically a combination of all my favourite bands in one glorious pop melting pot.
ATP: Are there any artists or bands that have influenced you and especially this album?
L: There’s a track called ‘I Won’t Look Back’ which is a mid-tempo pop ballad, that I feel came out of listening to a lot of The Fray’s first record. It’s basically really simple, and its basis is a big, beefy drum sound with a simple melody over the top, but it’s turned out to be a lot of people’s favourite song from the album and I’m really proud of it. I hate it when bands go on about how they’ve matured, but this is a mature song for me that I don’t think people will have expected me to write. I’m also really proud of all the arrangement on this song. There’s some U2-esque guitar sounds, even though I hate U2, and a really gorgeous string arrangement.
ATP: This past summer you finished University with a 2.1 degree in English and Music. How did you find the time to do a degree and your own music?
L: The hardest time was in my second year of uni. I’d just had a year out to play for Get Cape Wear Cape Fly, and then I’d done loads of touring with Sam Isaac for eight months, and when I came back I tried to maintain the same intensity of gigging. I think that in that academic year I still managed to play about 200 shows. It was pretty stupid. I’d leave for a gig at 4.00 after lectures, play it, leave at midnight, arrive back at 2.00 or 3.00, then get up for lectures at 8.00. And I was clocking up about two or three of those in the week, then always gigging on Saturday and Sunday. I’m lucky though, because English and Music aren’t as intense as studying something like Medicine or Physics or whatever, so I just about managed to get away with it. I only just got a 2:1 that year then tried to put a bit more effort in in my third year, when I slowed down my gigging slightly!
ATP: Is there any advice you’d give to someone in a similar situation?
L: Gig as much as you can. I really believe that gigging is a surefire way to build a fanbase, and means more than promoting yourself on the internet. It shows that you’re putting effort in and getting out there and playing to people. It was kind of easy for me because I had my own car and I was playing most of my gigs solo, but I guess if you’re in a band and trying to get four people together to do all these gigs then it’s a lot harder logistically. However, I think solo artists have a big opportunity in that they can play in random pubs and living rooms or whatever, whereas bands require a venue with a decent PA to be able to perform.
ATP: You’re offering your album as a free download. What was the reason behind this?
L: My previous two albums had some great songs on them, but were recorded on a shoestring budget, i.e., basically for free. So a few people have been put off my music by the production being a big ropey, and also by my vocals and other stuff. Since recording ‘Fan The Flames’ in summer 2007, I’ve had the experience of two years of gigging and vocal lessons, and also listening to loads of new music and getting better at writing songs, so this album is basically hugely better. I want everyone that has maybe written me off or been put off my music to be able to try out this new stuff, and not to be put off my a price tag or having to bother to place an order in my online store. It’s literally as simple as clicking ‘download’ and then people can check out my new stuff and hopefully re-evaluate their opinion of my music. I just want this album to be heard by loads of people all over the world, and for people to be able to share it with their friends.
ATP: Do you think music has lost its value, as many artists are now giving away their music?
L: Yeah, there is a danger of that happening. However, I’m also offering a physical package so it’s not like I’ve totally neglected that side of things. I personally don’t ever download music legally or illegally, and hate the idea of music not being available physically. I think that when a band releases stuff exclusively digitally it’s just a bit weak. As a fan, I want to be able to hold the artwork and look at photos and stuff, and iTunes just seems a bit clinical and lame.
ATP: Alternatively you’re offering 2 physical packages for the new album. Could you tell us about them and why you’re doing them?
L: I’ve just tried to put together two packages that I personally would want to buy. The album is going to be packaged in a hand-numbered, 40-page CD photo book, limited to 1000 copies, which contains photos of the album recording taken by my friend Tom Price. He’s a sick photographer, and it basically just shows the recording process and all the stuff that went on. Pete Miles’ studio is in a beautiful location so it’s nice to see that too. There was also an option to pre-order the album with a limited edition t-shirt, which was made to order. I love bands that do these pre-order deals so I just did one myself.
ATP: What are your thoughts on services like Spotify? Do you think they are ideal for artists like yourself?
L: As far as I’m aware, artists don’t really benefit financially from Spotify, however there are loads of benefits to it. Consumers can hear entire albums without actually owning them, and then can make an informed decision about whether or not to buy an album. However, the issue is whether people will ever actually fork out for an album if they can hear it whenever they want anyway, provided they’re in their home. I do love Spotify, and I think one of the best things is how you can share your playlists. I have a playlist that contains my favourite songs and stuff that I’m currently listening to, so that people can have a listen to it if they want to know what I’m into at the moment. Essentially, Spotify is great but people need to realise that if they want to help an artist financially, and thereby ensure that they can keep making music, they need to pay for the artist’s music.
ATP: You also own your a label called Got Got Need Records. Why did you decide to form your own label instead of joining one?
L: Most indie labels operate on a 50/50 split after costs between label and artist, and I simply can’t afford to throw away half the money from every CD I sell. A record label often sounds like a grand term, but it basically means that I organise all the artwork myself, get quotes from the CD manufacturers, then send all the artwork and everything away myself and pay the bill at the end of it. Then, when the CD is made, I try to get a few reviews, interviews, and a bit of radio play. I don’t want this to seem at all offensive or arrogant, but I feel that there’s not a huge amount more that any of the small independent UK labels could do for me. Obviously each label has a dedicated group of people who are likely to buy, or at least seriously consider buying every release, but having weighed up the positives and negatives of doing it myself as opposed to attempting to get an indie label on board, I feel like doing it myself is the best route for me personally. I think that’s only because I’ve been blessed with quite a good work ethic, and I’m also a control freak, so getting someone else onboard would just frustrate me! If you’re in a band just for the love of making music and you despise all the business side of things, then obviously it would make sense to get the backing of a label to handle all of that for you. However, I love all the aspects of releasing a record, even though it’s often painfully stressful, and it’s nice to know that when I get the finished product in my hands it’s because of my hard work.
ATP: During your career you’ve played across the world including Russia and China. Have these experiences influenced your music and as a person?
L: Probably the biggest effect that it’s had on me is that it’s made me worry less about the UK. I used to get stressed about how I wasn’t really getting any bigger in the UK, and get frustrated at just doing the same tour round the UK every four months or whatever. Touring other countries means that you get to break it up a bit more and keep touring a bit more fresh, rather than just finding yourself in the same venue in Leeds four times a year! So even if I play a rubbish show in London, then I can go to Moscow and play a great show. And if there’s a rubbish show in Frankfurt, then I can come back and play a cool show in Southampton. It keeps everything more interesting.
I don’t think that the touring has really influenced my writing, but it’s definitely made me aware that there is more to the world than the UK. I think we’re pretty self-important about our music scene in the UK, but there is cool music being made everywhere and it’s good to not lose sight of that.
ATP: Do you have funny or memorable stories from these shows?
L: Probably too many to tell! Last Christmas was pretty surreal because I played solo in Germany, China and Russia, flying between these countries by myself, and being taken around by different booking agents. It’s odd to be in a country like Russia or China because you’re completely dependent upon your booking agent or contact out there because basically no-one out there speaks English. On Christmas Day, I found myself eating pizza in Beijing and doing an interview with a huge magazine. My interview went out in an issue with Britney Spears on the cover! The best way to get an idea of everything is probably just to watch my tour videos atvimeo.com/lukeleighfield
ATP: How was the reaction to your music overseas?
L: It seems like the further I travel, the more receptive the crowds are. I think it’s because not many UK bands get out to Russia or China, and therefore the people there are extra appreciative that you’re there and playing for them. Wherever you go, people LOVE the UK and talk about all the bands they love from there, so I think people were also just nice to me because I was from the UK! Some of my best shows have been in Moscow. The bookers out there are really good and always sort out a great crowd for me, so I’m really grateful to have had that opportunity.
ATP:Is there anywhere you’d like to play but haven’t yet?
L: Everywhere! I’m potentially going to Australia and Japan in 2010 so I hope those dates happen. I also really want to go to the USA and South America. To be honest, I just want to play absolutely everywhere, and see a bit of the world at the same time and hopefully make some new friends.
ATP:Speaking of working overseas. You are signed to Rallye Records in Japan. How did that relationship form?
L: I saw that Rallye had released stuff by Jeremy Warmsley, Kyte and The Joy Formidable so I just sent them an email to see if they were interested in working with me. It turns out that they were, so I released a Greatest Hits CD out there! Pretty pleased with that one. Someone sent me a picture of my CD in the racks at HMV Tokyo next to Ben Folds. I was so chuffed!
ATP: You’ve played hundreds of shows both big and small. What type of setting do you prefer to play?
L: That’s a difficult one to answer. You can play to 300 people and it can be awful, and you can play to ten people and it can be the best show you’ve ever done. I love the variation that my shows offer at the moment, the way that I can be playing a big gig in Munster one weekend, then the next weekend it might be a house show in Huddersfield. Variety is the spice of life! Obviously in the future I want to play bigger and better shows, and take things to the next level, but I’ll always enjoy playing shows in different settings and sizes.
ATP: What can fans expect when they come to see Luke Leighfield?
L: Mostly tasteless jokes. If you come to see me play in front of my friends in Southampton you can expect lots of in jokes, and possibly me crying onstage about some stupid joke. If you come to see me in Kingston you can expect to see Del Noble. That’s guaranteed.
ATP: As 2009 comes to an end, what can we expect from Luke Leighfield in 2010?
L: I’m hoping to get out to some new countries to play as I mentioned earlier, and I might write another album. I’m going to start a post-rock side project. I’m also going to be producing a few bands, and hopefully doing some arranging and stuff on the new King Blues album. And the new Get Cape album is coming out, which I played a bit of piano on.
ATP: I hear you’re working with Eat Sleep Attack on his new EP?
L: That actually fell through because Sam had to cancel the recording he had booked, but hopefully I’ll be able to do that at some point if our diaries agree.
ATP: Do you have anything else you’d like to say to finish the interview?
L: Well, thank you to Alter The Press for supporting me, and I hope everyone enjoys the new album.
Luke Leighfield’s new album ‘Have You Got Heart?’ is available from November 17th on Got Got Need Records.
You can download ‘Have You Got Heart? for free here. or buy the Limited Edition Hand-Numbered CD/Photo book from Luke Leighfield’s Big Cartel store HERE
Posted on AlterThePress.com in November 2009.
Alter The Press! recently spoke with producer Romesh Dodangoda, who has worked with bands such as Funeral For A Friend, Kids In Glass Houses, Attack! Attack!, The Blackout, Not Advised, Twin Atlantic and Save Your Breath. Romesh is based at the well-known Longwave Recording Studio in Cardiff, Wales.
Romesh discussed how he started producing bands, the history of Longwave Recording Studio, his role in the studio and more.
ATP: How did you become a producer? Was it something you had always wanted to do or was something you fell into?
Romesh: I’ve always played an instrument since I was 4, so I’ve been around music for pretty much all my childhood. When I got older, I started a band which was a lot of fun, but the more I went into studios to record with them, the more I realised that it was the producing and engineering I was more interested in.
ATP: What did you listen to when you were growing up and did this influence to become a producer?
R: I listened to a lot of pop music when i was younger, and then I discovered Oasis and started listening to a lot of guitar based bands. Oasis got me into bands like The Stone Roses, The Jam, The Beatles, etc. I started to appreciate how simple songwriting can really be effective and I guess this was how I started getting interested in production and song arrangements etc.
ATP: What is the history behind the Longwave Recording Studio?
R: It was a very gradual thing. I had a studio on the side of my house for a while until I couldn’t fit any more gear in the place! It was a really nice place to work in. It was small, but it had a lot of vibe in there! We did some really cool records there, the two Dopamine records, the first Kids In Glass Houses EP, The Blackout EP all were done in there… in about 1000 degrees of heat from all the gear. I moved my studio into a bigger place after that, and have now got a brand new studio in Cardiff which is awesome!
ATP: Why should people come and work with you at Longwave?
R: I think its up to the artist to decide whether I am the right producer for the job. I’d like to think I’m pretty good at getting the most out of a band and the individual players, and making the most of the ideas in the songs, trying new ideas, etc. I think a lot of bands don’t understand that working with a producer is not the same as just booking a typical studio. I like working with bands who have the hunger for making great music as I am the same really. I love making records!
ATP: What has been your dream band you have worked with?
R: Producing Funeral For A Friend was pretty awesome because they were a band I used to listen to when I was younger. When I got the phone call about producing their record, I was so chuffed!
ATP: Alternatively, Is there anyone you wish to work with?
R: There is definitely a big list, but I think I’ll keep that to myself for now.
ATP: When bands ask you to produce for them. What do you look for in them?
R: I look for artists who are really passionate with what they are doing. The band need to be nice people too. That helps! I look for bands that I can maybe bring an extra dimension to, musically.
ATP: A lot of the bands you’ve worked with are Welsh. Do you feel Wales, at present, is an influential place with a thriving music scene?
R: I think Cardiff is an amazing area for music. All the bands here know each other, and everyone helps each other out. We all regularly go out in the week and meet up which I think is probably a big reason why theres such a good community here with the music scene.
ATP: What bands should be looking out for?
R: Not Advised are one of my favourite bands at the moment. Their record “Fight For This” is out on iTunes now and is 5 straight up awesome songs with big choruses. Save Your Breath are rad guys from Newport who are really starting to make a name for themselves and are getting better every tour. Me Vs Hero are doing a record with me soon, we’ve already done 4 tracks and its sounding amazing! There’s a really great band from Wales called Town who have got a really cool indie vibe going on. There’s so many great bands out there! If you go over to the Long Wave myspace, there is a jukebox with tons of songs on it. Have a listen.
ATP: Which records do you consider you’re most proudest to work on and Is there any you want to forget about?
R: There’s definitely no records I’ve made that I want to forget about. As a producer, my job is to make sure we end up with a great result that captures what we set out to do. If that’s not done then we’ll keep working till its right.
ATP: As a producer, what is your role in the studio? How much influence do you have on a band?
R: My role is to make sure the songs sound right, the parts and arrangements are the best they can be and that I capture the best out of the musicians. A lot of the time my job uses a lot of psychology where you have to work out the way that individual people like to work in order to get the most out of them. Some people need a bit of pressure to get their head in the right zone, some people need to work a bit slower to get the result. There’s so many aspects to being a producer. Its also things like making sure the record gets done on budget, that it gets delivered to the label on time, making sure studios are booked if we’re doing bits and pieces elsewhere, its a big task!
ATP: What upcoming releases are you currently working on?
R: Funeral For A Friend are back in the studio with me soon. We recently did 4 new tracks which appear on their Greatest Hits record. The band are on fire right now with their writing, I’m very excited to get back in with them.
I have a blog which is at http://romeshlongwave.blogspot.com which is probably the best place to see what bands I’m working with at the moment. There’s some pretty cool photos on there from album sessions with bands like Kids In Glass Houses, Funeral For A Friend, The Blackout, Twin Atlantic, etc.
More information on Romesh and Long Wave Recording Studio can be found on Myspace and the latest news can be found at Romesh’s Long Wave Recording Studio blog here.
Posted on AlterThePress.com in November 2009.
Last week Atreyu released their new album ‘Congregation of the Damned’, their 5th album and their 2nd for Hollywood Records. Alter The Press! recently asked guitarist Travis Miguel about the recording of the album, working with producer with Bob Marlette, their current US tour with Hollywood Undead and more.
ATP: You’ve just released your new album ‘Congregation of The Damned’. Is there a meaning behind the title?
Travis: It’s basically a broad outlook on the way the world is today and how the human race in general could be in better shape.
ATP: I hear the new album’s lyrics are darker. Could you expand on this?
T: Our singer Alex is a very observant and perceptive person. He writes about what he sees or how he feels, which at times, can be very dark.
ATP: How was did the writing and recording of the record go?
T: We didn’t stray very far from our usual writing process. We basically spent a few months writing and demoing about 25 songs or so. Then we went into preproduction with Bob Marlette for a few weeks and fine tuned 16 songs. After that, we headed to Henson Studios in Hollywood to track the drums, which took about 4 days. From there, we headed into Bob Marlette’s Blue Room Studio to track the rest. It was a long and arduous process but well worth it.
ATP: ‘Congregation of The Damned’ is your 2nd record on Hollywood Records. How has the band changed since leaving Victory for Hollywood?
T: We’re all a bit older now. We’ve learned a lot. 4 of us have mortgages and 2 of us are married. We’ve had our fair share of ups and downs but we don’t plan on stopping anytime soon.
ATP: How was it working with producer Bob Marlette?
T: Bob Marlette wasn’t one of these producers who was kissing our asses, telling us we’re gonna make a platinum record and make us huge rockstars. He was more concerned with getting the best record out of us. A lot of producers may solely work with drums and vocals or some may only work with the preproduction stage. Some producers don’t work on albums at all and slap their name on the finished product. This wasn’t the case with Bob Marlette. He was right there with us everyday manning the boards and getting his hands dirty.
ATP: Are there any tracks from the new album you’d recommend to new listeners and why?
T: Listen to the whole damn thing.
ATP: On the day you released the new album, you did an all day webcast. What was the reason behind this?
T: It’s a big deal for any band to release a record. We wanted to share our big day with our fans.
ATP: Do you think online promoting is now more important than non-online promoting?
T: Promoting in general, whether it be online or not, is important. It’s obviously easier to promote online and you can cover much more ground via the internet, but any kind of promotion is essential.
ATP: Recently you’ve been on tour with Hollywood Undead. How have these shows been?
T: We’re about half way through the tour right now and the shows have been great. There are a lot of HU fans who may not have heard Atreyu or seen us play live so it’s been great for us.
ATP: What has the reaction been like to the new songs?
T: There have been way more positive reactions than negative ones, so we really can’t complain.
ATP: Are there any plans to tour outside of the US?
T: A lot of plans to go overseas are up in the air. I believe we’ll be going to Japan for a few dates in January. Europe and Australia are always on our radar.
ATP: Is there anything else you’d like to say?
T: Go check out Congregation of the Damned…NOW!
As Travis said Atreyu’s new album ‘Congregation of the Damned’ is available now and can be purchased here.
Atreyu’s Official Website
Posted on AlterThePress.com on Thursday October 15th 2009
lter The Press! recently spoke with Nick Diener from The Swellers. Diener talked to us about the bands superb Fueled By Ramen debut, ‘Ups and Downsizing’, growing up in Flint, Michigan, the music scene at home, the bands inspirations, their current US tour alongside platinum-selling group Paramore and more.
ATP: You’ve just released your new album, ‘Ups and Downsizing’ on Fueled By Ramen. How did the writing and recording of the record go?
Nick: We started writing the record right when we released our last full-length, “My Everest”, and ended writing it the last day we were in the studio recording “Ups and Downsizing”. The ideas never stop coming, and we never stop tweaking things. It was recorded in January/February of this year in both Michigan and Chicago, IL. 5 different studios!
ATP: I understand this album is more uplifting lyrically compared to ‘My Everest’?
N: Yes, but just by a little bit. We’re just a bit older now and realize some things can be fixed. Just gotta take things one at a time.
ATP: Which songs from the album definitely show this?
N: “Ups and Downsizing”, the title track, is about having to leave your life in one place and start it in another. The lyrics in the bridge pretty much say “we’re making this new place our house, it’ll be just fine.” Also, “Feet First” is a song about someone jumping off of a bridge to end their life, but before they hit the water, realizing they want to live.
ATP: How has the reaction been to the record? (We gave it a 4.5/5)
N: It’s been really good! Thanks again for the great review. A lot of zines and websites over here were very stoked that we made the record that we did. Same with our fans. There are a few kids who are bummed that it’s not as “shreddy” or “fast” but we just wanted to make a record that we really liked. Didn’t really take Dragonforce fans into consideration this time. Sorry, folks. Just wanted to make a record that we could listen to in ten years and say “yeah, that was a good time”.
ATP: The album is influenced by your experiences in Detroit. Would you like to expand on that?
N: For us, it’s mostly about Flint, MI. We grew up in the Flint scene and learned everything we know about playing shows and starting up a band from that city. It’s been sort of a ghost town for awhile, with a lot of crime, since all of the industry left the area years ago. But the city is doing better now, slowly but surely.
ATP: What was the music scene like in Michigan when growing up and how is it today?
N: In Flint, we had the Flint Local 432, which is the greatest all-ages music venue I’ve ever been to. It’s closed down now (for now), but we had the best seen I’ve seen anywhere. I’ve done like 20 tours of the United States now and I haven’t seen anything like it. Now, most of the action is in Detroit and Ann Arbor.
ATP: Any bands from the area you’d recommend?
N: Our favorite michigan bands are Cheap Girls, Fireworks, Empty Orchestra, and Black Dahlia Murder.
ATP: What bands have influenced and inspired The Swellers?
N: Weezer, No Use For A Name, and The Get Up Kids are 3 reasons we started this band 7 years ago. All of those bands still pop into my head while writing songs.
ATP: You recently released a video for ‘Fire Away’. What is the story behind the concept and how did the shooting go?
N: Shooting was amazing because we used a lot of our friends on the set. Our good friend Mike Berlucchi was the director of photography, and our new friend Anthony Garth directed the whole thing. Our guitar player Ryan’s brother, Michael, was the star in the video. The concept was basically about a guy who decides he wants to escape reality, so he does, but then realizes he needs help and other people to survive and actually be happy.
ATP: Are there any plans to release any other singles from the album?
N: Definitely. We want to put out 2 or 3 more if possible! Lots of video ideas, as well.
ATP: How did you become involved with Fuled By Ramen?
N: We sent them our demos, they liked them, and we began talking from there! They’re the label that had been talking to us the longest, and had been the friendliest and the most interested in our band.
ATP: How has the reaction been to you signing the label?, especially in the punk community, as FBR is a more poppy, radio-friendly label.
N: It’s been great for the most part. Some people were confused, but then said something like “oh well, at least FBR signed a good band for once,” so that’s pretty flattering.
ATP: You’re on tour with Paramore in the US at the moment. What can we expect from these shows?
N: Today is the second show and so far, the reaction has been really good. Kids are hungry for new music. We’re excited to maybe be some of these kids’ gateway bands.
ATP: Do you think you will gain new fans on this tour?
N: Definitely. We have already so far and it’s only been one show. After this, we’ll be touring nonstop with more and more bands.
ATP: Do you have any plans to tour outside the US, especially the UK?
N: Yes! We heard rumors that we’ll be headed to the UK and Europe in Spring of 2010. Very excited. It’ll be our first time over there.
ATP: What else do The Swellers have lined up?
N: Big US tours in the winter. Those will be announced soon! And we’re already writing for another record. Never stops.
ATP: Is there anything final you’d like to say?
N: Thank you for the interview and the great review. Hopefully meet up soon!
The Swellers’ new album ‘Ups and Downsizing’ is available now on Fueled by Ramen and will be on tour with Paramore and Paper Route in the US and Canada until November 11th.
The Swellers on Myspace and Twitter.
Posted on AlterThePress.com on Wednesday October 7th 2009
Earlier this year Ant West, Casey Roarty and George Lindsey shut the door on Tonight Is Goodbye, a band that had been apart of their lives for 3 years and released 2 EPs, played Taste of Chaos and headlined the UK Now Stage at the Slam Dunk Festival in Leeds 2008. More importantly it was a band that had lost 2 members.
As a result of this the 3 surviving members decided to start a new band with a different sound. With a new bassist, Christian Ward and Ant taking on guitar duties, the band relaunched themselves under a new moniker, Futures.
Now as 2009 comes to a close, Sean spoke to guitarist Casey Roarty about the transformation from Tonight Is Goodbye to Futures, their forthcoming album and more.
ATP: Tell us the story of how Tonight Is Goodbye became futures?
Casey: Well after our Castles EP, Tonight is Goodbye began writing our first full length. We spent about 6 months writing it, and a month in the studio recording it. Somewhere during the writing/recording process two of the guys realised their hearts weren’t in it anymore and left. After thinking about splitting up, Ant, George and I decided to go ahead and put out the music we had been working on, along with a name change (as we had been discussing in TIG anyway). We welcomed Christian on bass and decide that Ant would play guitar. And here we are…
ATP: Does futures have different sound or are you picking up where you left of?
C: It’s definitely a different sound, but it wasn’t something we planned. It’s definitely a lot closer than before to the music we would actually listen to.
ATP: I hear you have already written an album. Has that been recorded? If so tell us how the recording went?
C: Yep, the albums all done! We recorded it with Pete Miles in Devon, and we’re stoked with how it sounds. The recording was a lot of fun too, but very hard work. We spent a lot of time on pre-production, playing around with the songs to bring out the best in them, it definitely paid off. We also spent a lot of time playing Grand Theft Auto, winding up George, playing football, cooking vegan and eating way too much.
ATP: What can we expect from the album?
C: I’d say the song ‘16’ sums up the feel of the album quite well, if you like that, I hope you’ll like the album.
ATP: Any idea when the album will be out?
C: Good question, we’re not sure at the moment, we’re looking at the different possibilities of how/with who we’re going to put it out, watch this space!
ATP: What bands/artists have influenced you, especially the new material?
C: As a band, a few big influences on us have been Death Cab for Cutie, The Starting Line and Brand New.
ATP: What has the reaction been to the new band? Do you think it will be difficult to show people you are a different band now?
C: The reaction has been amazing, we couldn’t have hoped for better. We just played our first headline show in London which ended up selling out, was so amazing for us to see so many faces at our first show.
ATP: Are there any plans to tour in the near future?
C: Yeh we’re talking about touring plans right now, we’ll definitely be on the road before the year is out. We’re getting really impatient though, if it were up to us we’d be on tour all the time!
Futures on MySpace and Twitter
Posted on AlterThePress.com on October 7th 2009
EastStrikeWest are a 6-piece band from Essex, who are set to release their debut full-length, ‘Wolvves’ on Monday October 12th on Thirty Days of Night Records. A record that is a remarkable 50 minutes of progressive and stunning combination of indie, rock and shoegaze.
Sean spoke to the band about their history, the new album, how they became involved with Thirty Days of Night Records and getting praise from the likes of Steve Lomacq.
ATP: Can you introduce yourselves and your position in EastStrikeWest?
EastStrikeWest: We certainly can:
Tom Clark - Vocals
Liam Davis - Guitars
Steve Marciano - Keys/Guitars
James Saddington - Guitars
Ian Smith - Drums
Joseph Smyth - Bass
The roles sometimes change, but that would be a reasonable ‘who’s who’ of eaststrikewest.
ATP: I understand you originally formed in 2007 out of a band called threemovements. Could you tell us about this?
ESW: threemovements were a sinking ship and we were throwing the rats off. When the time came to pick up the pieces we realised we had no singer and no keyboard player. So that was the end of threemovements. After a year of mixing and matching we went back to a winning formula and now 5/6 of eaststrikewest have threemovements on their C.V.
ATP: How does the 2 bands differ?
ESW: We are better, we have structures.
ATP: How did you become involved with Thirty Days of Night Records?
ESW: My half brother Frank is in a band called Gallows who used to be on Thirty Days of Night. He hooked us up via a man named Martin Ives. Martin took it to the bossman and they hammered out some deals from there. We had very little choice after that…
ATP: What can people expect from your new record, ‘Wolvves’?
ESW: A very British record.
ATP: How would describe the overall sound of the record?
ESW: Ambitious. There are sounds we spent years talking about that we felt we should finally put on a record. You could also use the words ‘shoegaze’, ‘indie’, ‘grandiose’ and ‘post-rock’, (though we would rather you didn’t use that one).
ATP: Are there any particular tracks you’d recommend?
ESW: ‘Electricity’ and ‘Welcoming The Ghosts’. The latter being the unsung hero of our record.
ATP: How would you advise listeners to approach the album?
ESW: Listen with groups of friends and in one sitting using the suggested bass and treble positions of 2 and 5 respectively.
Keep in a positive frame of mind at all times.
ATP: Steve Lamacq has given you a fair bit of praise.. How does it feel to be recognised and praised by people with that kind of status?
ESW: It’s frightening. When we hear people like Steve Lamacq or Zane Lowe saying nice things about we start to think ‘well, what happens now?’. There’s almost a worry that you’ve now got expectations on your shoulders or that you should be doing something. Steve Lamacq knows who we are, why don’t you?
ATP: What do you have planned for the rest of the year and going into 2010?
ESW: We’re into spontaneity, hence the lack of any substantial plans. Expect many shows towards the end of this year, a tour early 2010 and a follow up release just as soon.
ATP: Would like to add anything else?
ESW: Support us, support the wolvves. Together we can make the Editors a thing of the past…
EastStrikeWest’s debut full-length, ‘Wolvves’ is released on October 12th on Thirty Days of Night Records.
Pre-Order ‘Wolvves’ can be pre-ordered here.
Posted on AlterThePress.com on Wednesday October 7th 2009
Swound! hail from Nottingham and are four brothers; Joe, Rowan, Tom and Lloyd, who since releasing their debut album, ‘Hello Future, Our Name is Swound!’ have gone on to play events such as Radio 1’s One Big Weekend and Guilfest and received praise from the likes of Zane Lowe, Steven Lamacq and Huw Stevens.
More recently the band announced they are to appear on popular US Children’s programme, Yo Gabba Gabba, as well asking fans to challenge them to do various tasks, in order to receive a download of ‘Hello Future, Our Name is Swound!.
Sean recently asked bassist Tom Staszkiewicz about ‘Challenge Swound’, playing One Big Weekend, their appearance on Yo Gabba Gabba and more.
ATP: First of all, introduce yourself and tell us who you are and what is your role in Swound!?
Tom: Hello! My name’s Tom. I’m the eldest brother and I play bass.
ATP: So whats the story behind Swound!? When did you decide to become a band?
T: Our parents locked us away and forced us to learn instruments from an early age. We weren’t allowed to mix with other people, which is why everyone in the band is related. Or, Joe and I formed Swound! with friends a number of years ago whilst we were both at university. There was no real plan behind it, we just wrote some songs and had a laugh playing them live. We did ok locally, but I think it was more about our general charm, good looks, charisma and wit than about the songs. We split up when we finished our degrees, but decided it was weird not being in a band and started a new one a couple of years later. We still had our web address paid for, so kept the name Swound!. By this point, Rowan and Lloyd had started university so eventually we got them involved too. It’s one or the other anyway.
ATP: When you were growing up together, what music did you listen to and has this influenced your own sound?
T: We liked a lot of punk and alternative rock. Personally, for me it was always about trying to rip off the Pixies. These days, our tastes are reasonably different, but we all listened to the same punk bands when we were younger.
ATP: For those who are unfamiliar with you. How would describe Swound’s sound?
T: We’ve been described as indie punk. I like that as it works pretty well and isn’t remotely complicated or pretentious.
ATP: Last year you released ‘Hello Future, Our Name is Swound!’. How has the reaction been to the record?
T: Really good! Reviewers generally loved it and we sold out all the ones that went to the shops so had to make it available digitally. It got short listed for XFM album of the year and even made the end of year top albums list in Rock Sound magazine. We were really pleased.
ATP: How did you become involved with Stressed Sumo Records?
T: They’re kind of local (we’re from Nottingham and they’re based Derby) and had been releasing stuff by some friends of ours. It was one of those mutual love in things that brought us together.
ATP: Whats the story behind Challenge Swound?
T: Because ‘Hello Future…’ sold out, loads of people were emailing us about getting hold of a copy. So we thought about doing a Radiohead, but had been beaten to the concept by, oddly enough, Radiohead. So we changed the idea slightly and decided people could only download the tracks once they’d submitted a challenge that we would try to complete. It was just an excuse for us to try and do some fun stuff in between recording and gigging. We film our efforts and put them online and the reaction has been really good so far. We’ve swam Loch Ness in search of the Monster, had a bash at going back in time, Had Westwood pimping a bottle – all sorts of things. I can’t really picture Thom Yorke drinking a blended Big Mac meal.
ATP: Earlier this year you’ve played Radio 1’s One Big Weekend. How did that go?
T: We had a great time. Our set was one of the busiest of the weekend in the introducing tent. I’d like to think it’s because of our amazing popularity, but instead of going up against Dizzee Rascal, Moyles decided to have a bit of a vanity hour at the same time as us. I’m not sure people were particularly up for comedy covers of bad songs (fortunately, we didn’t play our version of No Limit), so it worked out well. We played a great set, I think, the reaction was fantastic and a lot of famous people were congratulating us afterwards. Every now and then we get ‘famous days’ and that was definitely one of them.
ATP: Did you play any other festivals, if so how did they go?
T: We played Guilfest in the Rock Sound Cave, which was a blast. Joe and Rowan were comparing all weekend – after 2 days of the crowd hearing about how amazing our hotel was compared to their dirty tents, I was surprised we didn’t get bottled off the stage, but everyone was very nice and responsive. We also got to see some cool bands too – Twin Atlantic, The King Blues etc. We had such a good time that next year, we’re hoping for lots more festivals
ATP: What can we expect in the future for Swound!?
T: At least one celebrity marriage and high profile divorce, a subsequent spiritual phase, an acrimonious split and a record breaking reunion tour in 20 years. We’d just settle for increasingly more popular albums and gigs though. We’ll take whatever, really.
ATP: I hear you’re appearing on Yo Gabba Gabba. How did that happen?
T: Yeah! We’re friendly with the producer. His name is Christian Jacobs, but obsessive music geeks like us know him better as MC Bat Commander from LA band The Aquabats. We played with them a while back and he really loved our band so has since asked us to contribute a track. It’s about recovering properly when you’re ill. Nickelodeon are fascists when it comes to lyrics though, so we’ve had to redraft the song several times over to remove even the slightest hint of controversy, but I think we’re sorted now. We’re dead proud; I think it’s only us and The Super Furry Animals from Britain who have been asked to do this.
ATP: Would you llike to say anything else?
T: No, I feel content with the interview as it is. Thank you very much for asking such nice questions.
Swound!’s new single ‘Predator 3’’ is released on November 3rd on Stressed Sumo Records and their album, ‘Hello Future, Our Name is Swound!’ is available now via ChallengeSwound.com.
Posted on AlterThePress.com on Friday 2nd October 2009
Sean recently spoke to Brian Schwarz of Minneapolis five-piece, My Lady Four.
Schwarz spoke about the bands beginnings, their recent album, ‘Everyone Pays The Gatekeeper’ and its follow up and more.
ATP: Who are you and what do you do in My Lady Four?
Brian: My name is Brian, and I sing, play piano, and guitar.
ATP: Whats the story of how My Lady Four got together?
B: Well, I started the band a little less than a year ago when I posted an add on craigslist, looking for a new drummer. Carp was one of the first to respond, mentioning at the bottom of his e-mail, “I promise I won’t kill you”. Since then we have found every member to date on Craigslist, and we’ve tried out over 300 people.
ATP: What bands have influenced the sound of My Lady Four?
B: A whole list of bands have influenced us. A few of the major ones are The Beatles, Taking Back Sunday, Dashboard Confessional, Brand New, and Jacks Mannequin.
ATP: How would describe you’re sound to people who have not heard of your band before?
B: Hah. This is always a tough question to answer. We’ve been told we sound like Kings of Leon meets Panic! At The Disco, but we range from sounds as piano driven and soft as The Fray, to as hardcore as Emery.
ATP: I understand your new album, ‘Everyone Pays The Gatekeeper’ is the first part of a two part series. Would you like to expand on that?
B: Absolutely! :) We wrote an album that works on multiple levels, and is not just a collection of 8 songs. There is a story that accompanies the album, posted on our myspace site, and included in the booklet of our album, that people can read to get a better understanding of what the album is about, but what makes it so unique is that the story/album/lyrics are as much about My Lady Four the band, and about me, as they are about the main character, making it very accessible.
ATP: Can you tell us any details of the 2nd part?
B: Haha, I’ll try and keep that mostly quiet for now. I can tell you the new album is titled “In This Life Or The Next”, and it will express a different side of us than this album. Everyone Pays The Gatekeeper tends to be dark and ominous, while In This Life Or The Next has happier overtones while still tending to feel tense and slightly unsettling.
ATP: How was it working with producer Jordan Schmidt?
B: Working with Jordan was awesome! He’s a really down to earth guy, and he takes his job very seriously. We actually thought we would butt heads a lot while in the studio, but it ended up being the exact opposite. We worked together very well.
ATP: Jake Scherer (of New Medicine) makes a guest appearence on the record. How did that collaboration happen?
B: New Medicine, formerly A Verse Unsung, was actually the first band we ever played a show with in My Lady Four, and I’ve had a ton of respect for Jake ever since. We’ve kept tabs on one another and when I was in the studio I offered it up to Jake, and he chose to participate and support us.
ATP: You’re currently on the Have Your Cake and Eat it Tour. How are the shows going?
B: All the shows so far have been excellent, though I’m really excited for our upcoming east coast dates! We haven’t gotten too far from the midwest for the first month, and getting out to the east coast is going to be a blast.
ATP: What can people expect from these shows?
B: Our shows are very high-energy. We are performers, first and foremost, and we believe in playing shows that people will talk about for a long time after. So we try to make every show we play, no matter how many people show up, the best, most exciting, and most entertaining show we’ve ever done!
ATP: Other than the new album, what does My Lady Four have planned for the future?
B: At this point we will be touring full time from here on out, so we plan to move through a lot of college campuses and high schools in the days to come! Speaking of which, if anyone wants us to come out to their high school or college, send us an e-mail at MyLadyFour@yahoo.com and we’ll try to make it happen!
ATP: Would you like to say anything else?
B: Other than that we do a weekly chat on Tuesdays at 9pm cst through Stickam. So if anyone is ever wondering what we’re up to, tune in and find out! :) And thank you Sean for the interview!
‘Everyone Pays The Gatekeeper’ is available now.
My Lady Four on MySpace
My Lady Four track, ‘…Sometimes the Beat Eats You’ is just one of 51 songs included on our Autumn/Winter 2009 Compilation, which can be downloaded here.
