This Title Means Nothing: Gillian Carter on Authentic Sound, Community in the Scene, and Upcoming Tour!
Photographed by: @themirandajayne 2023
Formed from Florida back in 2005, three-piece Gillian Carter has established a heavy and lasting presence in the screamo scene, creating boundaryless noise by fusing elements pulled from hardcore, post-rock, and emo genres. Putting out a certifiable record titled, “Salvation Through Misery,” in 2022 Gillian Carter gave fans and new listeners a look into one of the most innovative-ly charged and creatively mastered albums of the last few years. With every single track varying in sound and spirit— it’s become a must-listen record. Lead vocalist, Logan Rivera, connected with Rambler Magazine a few weeks ago, to preview the past decade of Gillian Carter, offer a perspective on music as a coping skill, and prepare listeners for what’s to come in 2024.
To start off if you could introduce yourselves/self and your role in the band.
Logan: My name is Logan Rivera & I play Guitar/Vocals.
I am also really interested in what your first screamo (or hardcore) experience was like?!
Logan: My first Screamo experience was at a battle of the bands in Melbourne, Florida in 2003. Back in the day the battle of the bands was a huge deal. On the 2nd day I watched a band called Beneath low Flying Planes and they blew my mind. My life was forever changed after that experience. Still to this day I've never witnessed anything that extraordinary live. They started the set standing and ended the set on the floor, even the drummer.
What are some of the inspirations for Gillian Carter either musical or nonmusical?
Logan: Most inspirations for the band are life experiences & Death Metal. Musically we tend to let it flow & focus on what feels right for the music.
Being labeled primarily screamo, but obviously having influences of hardcore and post-hardcore etc. really being genre defying, what’s the creative process like for Gillian Carter (the latest ‘Salvation Through Misery’ album, and prior records)? How has your sound changed since forming in 05’?
Logan: I listen to all kinds of music. Music in general is inspiring to me. All of the screamo bands I was listening to all broke up around or before 2003. No one was trying to play Screamo in my area. I tried to start this band for a year before we actually started. The first record (“The Flood That Came After the Storm”— 2007) had a lot of ambient influences. At that time I was mostly listening to bands like Explosions in the sky, Godspeed, Silver Mount Zion. When it came time for our 2nd record (”Having Lost…” –2011) I was listening to a lot of Coconut Records and The Beatles. At that time we didn't play much (1 show every year) because it sort of felt hopeless. We did an insanely disastrous tour in the summer of 2007. When it came time to start on our 3rd record (“Lost Ships Sinking With the Sunset”— 2013) I made myself take zero influence from any other music I would be listening to and stuck to a rule of just allowing the music to come out. It was insanely freeing. I've kept that method ever since. We've never been afraid to mesh other genres with our own. In terms of the sound changing since 2005, this band has always been a way of coping with life.
Listening to the most recent album release, I think it’s clear the fusion of genres, and the stylistic differences from more mainstream screamo. In your opinion, what sets Gillian Carter apart from the rest of rising screamo style bands in the scene?
Logan: I'm honestly not really sure. Musically we're not 100% screamo like Pg99 or Orchid and our live shows are like going to see The Chariot in 2009.
If there could be one track you recommend or promote to a new-listener, to pull them into the Gillian Carter community, what track would it be, and why?
Logan: The track I would recommend to a new listener would probably have to be either "Abandoned & Lost in Time" off of (Salvation Through Misery— 2022) or "Terminal Brain" off of (Songs of Summer - 2022) because "Abandoned & Lost in Time" is short and has the best of both worlds. It's got the loud and abrasive side as well as the calm, soothing side.
It’s insane what Gillian Carter is able to do with just four lines in a 63 second song. Allowing listeners to experience a world of pleasure and pain from the aching riffs and contorted screams, to lyrics that encompass familiar feelings of apathy from isolation, is impressive in the least. I highly recommend “Synthetic Lies,” (…This Earth Shaped Tomb—2018) for a musically pioneered piece, distinguishable from their other songs.
Screamo or any type of emotionally fueled music generally is accompanied with incredibly involved fans and listeners, what is that experience like for the band? Is there still a strong sense of community?
Logan: The experience is tough to describe. It's a very strong sense of community I'd say. I think our listeners aren't just fans, you know? I think our listeners go beyond that. We've sparked a lot of friendships through touring and have connected with a lot of the people that have come out to our shows. I think anyone who likes this band connects with the music. They can relate with the subject matter and hopefully they can feel a sense of freedom at our shows. I always want the listeners of our band to know that they're not alone.
What morals/beliefs/ethos are important to the band as a whole?
Logan: Number 1 is always: treat everyone with respect, don't be an asshole, be kind. Hatred gets you nowhere. No room for negativity.
What’s the current state of Florida hardcore, or screamo/ the scene in general, and how has the scene changed since you’ve been a part of it?
Logan: I'd say the state of Florida hardcore/screamo is alive and well. When we first started the only bands that were playing were Christian, straight edge, hardcore bands. Now there's all sorts of hardcore. It's not just limited to one style.
What can fans expect from Gillian Carter in the next year? New music etc.
Logan: We will be doing some touring. Planning on hitting the West Coast finally as well as working on a new record.
Any final thoughts or words to share to listeners and readers?
Logan: Stay safe and sane and hope to catch you on the road at a show!
This brief introduction to Gillian Carter should be more than enough of a recommendation to stream something of substance, with an atmosphere of inclusivity, and gnarly music to back them up. Stay tuned for what’s next for Gillian Carter this year!
Written by: Allison Payne (@allieepayne)
Published on: 07 January 2024
Roman Candle: Piper Ferrari On First Hardcore Show Welcome, Femme Presence In The Scene, and Upcoming Record!
Photographed by: @danielleriot 2023
Roman Candle is easily one of the most passionate hardcore-screamo bands in the current scene. With a nuanced approach to composition, insanely talented lyricism, and an overall chaotic and chartic feel to experimentalism, the seemingly post hardcore act undeniably participates in the genre. Closing down For The Children Festival this past weekend in Los Angeles, I had the opportunity to speak with Vocalist Piper Ferrari on all things Roman Candle.
I’m really interested in what your first hardcore show experience was like!
Piper: My first hardcore show was this band called Easy Money, and they played at this spot in Vegas that used to be called The Garth. And The Garth was like this super small warehouse that had no ac, and it was grimy as fuck, it was so bad, and my friend Vlad (I didn’t know him at the time but we’re friends now), he was throwing trash cans at people and it was absolute chaos. My friend broke her nose, and I was like I’m going to stick around. It was very like ‘first show experience,’ it was ridiculous. Very memorable– I think about it all the time.
Can you tell us about the current state of Vegas hardcore, how long you’ve been in the scene, and how has it changed since you started getting involved?
Piper: So I started going to shows back in 2017/18ish. It was like my senior year of high school, the scene has grown so much since then. I mean Blackpath Booking in Vegas, they put on all the shows, and I’ve seen them– just every show they do it keeps getting better, and better. They started selling out the two Vfw halls we have. It’s very community-based. It feels very family-oriented. Everyone knows everyone, everyone fucks with everyone. There’s no weird beef or anything like that, everyone gets along, and it’s just great.
What’s the inspiration for Roman Candle, either musical or nonmusical?
Piper: Musically, all of us really fuck with late 90s or early 2000s hardcore and emo music. I mean it’s really obvious in our music but we like Poison The Well, Saetia, and other bands like that.
What drew you to wanting to make hardcore-screamo inspired music specifically?
Piper: Honestly, that’s what I grew up listening to. My uncle he’s only sixteen/seventeen years older than me, and he just put me onto that shit. I remember it was specifically when I got my first iPod, he gave me his whole GooglePlay music account, and dude I got into so much cool music from him. Ironically our guitarist Jonas is also around the same age as my uncle– I was like ‘you grew up listening to that style of music, I grew up listening to that style of music but in a different way,’ and that’s kind of what we bonded over. It was really cool.
How has being the female front to a hardcore band influenced your audience, your sound, and kind of your overall experience in the scene? If you wanted to talk about your experience being a femme-presenting singer.
Piper: For sure. I feel like when we’re on stage it’s cool, it’s the interactions at the merch table and like in my Twitter and Instagram DM’s that are weird, but other than that I feel like we’ve been very well respected by our male peers for sure. I don’t feel like I’ve experienced any misogyny within the scene, it’s always the random ass fools on the outside and online that don’t really go to shows that come to the merch table and talk to me some kind of way that are weird– other than that, I feel like there’s this thing within hardcore, and I’ve seen this my whole life, of people acting like women in hardcore are crazy. So I’ve just embraced that.
That’s entirely apparent in your guys’ music– especially with “Mad Girl’s Love Song.”
Piper: That’s literally the song! Because like I get it, you can’t fuck with this kind of music as a woman without being a little whacky. Even if it’s just a tad. And I think it’s about time that we fucking embrace that.
Considering that, how have you in the past, or do you have any plans for the future, for promoting positive female influence in the scene and in your music? Is that not an agenda on your mind?
Piper: Honestly, and I’m going to be completely transparent. I’m the oldest of five kids, so I’m the oldest of three girls and two boys, and being their role model is hard enough. So to be other people’s role model, when I’m not really, I don’t know, necessarily the best influence? Is kind of a little overwhelming. So I guess going into things with that in mind is something that doesn’t happen, I think it’s just something that happens organically, and it’s something that I’m learning to accept and be comfortable with [...] Being in this position is a very daunting task.
With your music do you have any desire for showcasing the fact that you’re a female singer, doing hardcore?
Piper: Like repping that? I don’t really think about it. I think it’s something that’s so engrained in who I am, like I’m a woman, I was raised by women, so you know, who I am is just a representation of them. I don’t really think much about it… We’re working on our next album, and I love Sylvia Plath, so there’s this song we’re writing (and “Mad Girl’s Love Song” was an ode to Sylvia Plath), and I’m trying to do something like that with every album. I don’t know if you’ve read “Lady Lazarus”– great poem, but there’s a line in it: “I eat men like air,” that I’m probably going to use in this next album. I didn’t do that with intentions of being ‘yeah like I’m going to rep who I am,’ but it is who I am. It’s something that I can’t turn on and off.
In light of female involvement in the scene, from Roman Candle to Scowl and Dying Wish etc., whether that be conducting interviews, participating as an audience member, fronting or playing in a band, or even creating art representative to the nature of the scene, uplifting the insanely talented presence around you and showing respect for the talent regardless of the individual, is a value both expected and rooted in the nature of hardcore (and the music scene in general). Talent is not limited to or signified by identity– Roman Candle’s music speaks for itself.
On the topic of your EP release, Discounted Fireworks, your lyricism is absolutely insane and the lyrics seem to resonate so powerfully with your listeners– what’s the writing process like?
Piper: For lyrics honestly I just write them in my notes app on my phone, sometimes it’s on pen and paper, and I’m just scribbling down… I’ll write down random phrases that I think of in my notes app or on paper or whatever, and I’ll do a bunch of those, so it’s just a bunch of random ideas and then once I have those ideas and we have the instruments behind it, then I start to fully develop a song. Does that make sense? I’ll start off with like one sentence, and then I’ll go from there.
Melding elements of post-hardcore, hardcore, and screamo, the latest release: Discounted Fireworks, encapsulates progression of feelings from phantom romance to weaponized betrayal, to borderline all-consuming rage with the closing track, “Spit In Their Faces.” Finding the perfect balance between bleakness in a poetry-reading manner (comparable to La Dispute, To Be Gentle, or even Saetia), to hopefulness and an overcoming spirit with Ferrari’s gnarly screams, each track filters through the minds of listeners, leaving the disavowed emotional rawness that Roman Candle is known for, ringing in their ears. With just five tracks barring thirteen minutes, waste no time in streaming this album.
What are the upcoming plans for Roman Candle, and are there any goals you want to accomplish with your band in the next year?
Piper: We’re recording our first full-length album in January, which I’m really excited for, and then we’re going on tour with Militarie Gun for two weeks in February and March, and that’s all we have planned for next year.
Any final thoughts, shout outs, advice for people in the scene, or anything to say to your fans and readers?
Piper: Shoutout Vegas. Advice– don’t fuck with the cool guy shit, it sucks. Learn how to fight. Don’t be scared of getting your ass beat. Just be who you are honestly, at the end of the day it’s like being true to yourself is all that matters, and if you’re doing that, you’ll feel great. That’s it, yeah.
Talking with Ferrari, her infectious energy transfers on and off the stage. Whether they’re performing in Vegas or out-of-state, in the front attending local shows or playing sold out festivals, each performance is worth watching, and their authentic reflection of hardcore and screamo values completes the package.
Written by: Allison Payne (@allieepayne)
Published on: 01 January 2024
Gridiron: Matt Karl On Intro to PAHC, Loyalty, and Showing Out For Your Scene
Photographed by: @irishstfu 2023
Forming out of boredom during the 2020 Pandemic, with an overwhelming response from a fastly grown fanbase, Philly hardcore band Gridiron stands for much more than pedestrian fun: loyalty, hardcore fundamentals, and the pursuit of a bonded community.
What was your first hardcore show experience like? And how did this discovery of hardcore draw you to want to produce that style of music?
Matt: I had a select group of friends in high school who would go to shows, and eventually I started tagging along. The first show that I ever went to was at my friend’s barn and there was a band from Detroit that played, and a couple other local bands– but the first big one that I remember going to was Have Heart, Let Down, Ceremony, and that was like maybe 08’ or 09’.. that was the first one where I, you know.. I felt it. [...] It was one of those things that you go to once. You know, there’s a lot of people who go to their first show. There’s a lot of people who go to their second, and even less people that go to their third. And there’s less people six months from their first show that are still coming around, but I kind of just knew right away that it was something that I wanted to be a part of for a long time. Something like this can’t survive without people participating. So it’s big for people to start bands, book shows, start a label, do a zine, whatever it is. If that doesn’t happen, then nothing happens.
Being drawn into the scene with cult classics like Have Heart, known for balancing both the progression of hardcore while maintaining its traditions (musically and morally), Gridiron and its members have seemingly embedded themselves and their music in its East Coast inspiration.
What is the inspiration for Gridiron either musical or nonmusical?
Matt: I take a lot of my thoughts about the Eagles and try to put them into words sometimes, which helps a lot with lyrics. But yeah, I grew up loving hip-hop, and hip-hop has always been the number one thing for me, ever since I was really little. I had two older brothers who kind of put me onto stuff at a really young age, and I obviously later in life, discovered hardcore. I’ve always wanted to do a band where you could kind of mesh the two together, and that was kind of what I envisioned with Gridiron. So obviously, bands like E-Town Concrete are a huge inspiration for us. And older Pennsylvania bands like Krutch and stuff like that.
Outwardly pushing the boundaries of hardcore musically, drawing on the influence of hip-hop and hardcore fusion bands like E.Town Concrete, Gridiron is able to balance the integrity of 2000s-style hardcore, with flair that brings a new energy to the scene. Tracks off their 2022 album, No Good At Goodbyes, like “25-8,” or “Trench,” are prime examples of this approach.
What’s the current state of Philadelphia hardcore, and how has the scene changed since your initial involvement in it?
Matt: I’ve grown up going to shows here, so this is definitely home for me, so I may be a little biased in saying that Philly hardcore is the best. I mean even being an hour and a half from Baltimore, an hour and a half from New York City, everything is within driving distance for the most part. You know, [with] Philly hardcore tons of kids come out to shows, a lot of bands from the area keep popping up, so there’s a lot of young kids doing stuff in the scene, doing zines, and stuff like that which is really, really sick. So yeah, it’s in a really good spot right now.
What morals/beliefs/ethos are important to the band as a whole?
Matt: Brotherhood, you know just looking out for one another and there’s a lot of coach-talk with Gridiron, kind of football related, like persevering and things of that nature.
Philadelphia, being just an hour away from major cities like Detroit or New York, has the advantage of serving as a hub for music fans and aspiring bands to connect and participate in their local scene. This idea of ‘showing out for your scene,’ is simply getting involved. Create a zine, take pictures, write for a mag, get down for your favorite bands, show up and support local musicians, buy merch– do something, anything productive. Ideologies often explored in hardcore, considered fundamentals, extend to creating a subculture with substance. Opposing mainstream ethics/ideals, while musically not straying too far from tradition/walking the fine line of acceptable progression; Gridiron is a four-piece that’s got it down.
Rooted in beliefs surrounding brotherhood and loyalty, the foundation of hardcore along with ideals of not expecting anything you didn’t earn, not having space for weaponized betrayal, hard truths of no longer compromising, and giving respect when it’s due etc.– are all morals and ethos found between the lines of Gridiron tracks. It’s obvious the spirit and culture of the hardcore scene is being preserved.
Hardcore being almost a push for aggression/violence, what’s it like performing to that kind of audience? What motivates you to put that energy out to a crowd?
Matt: It’s just one of those things where I think that stuff like that is very reciprocated. When you see people giving it to you, you want to give it back. That’s one of the things that makes hardcore what it is, and unlike other types of music that exist, it’s you know, the energy that’s in the room.
Seemingly, the draw of the scene is its strength in violence. Coming from affliction and fully needing community in a place that feels like you can belong, it ultimately becomes a place where you want to be; the hardcore scene promoting rising above and inner strength in the midst of life beating you down… you turn your pain into power, in a space that conquers the breeding of torment and hate.
What are upcoming plans for Gridiron? Are there any goals you hope to accomplish with Gridiron over the next year?
Matt: Couple weeks we have FYA Fest in Florida, which my friend Bob does and that’s one of my favorite fests of the year– the vibes are always just impeccable. After that, then we’re doing LDB, and after LDB we’re doing a couple dates with Code Orange, towards the end of Winter. So that’ll be cool, we’re writing a new record right now, so I’m looking to record that around Spring, and we have some cool shit lined up for Summer.
Any final thoughts, advice for people in the scene, or shout outs etc.?
Matt: Shoutout Triple B Records, Philly hardcore, Pennsylvania hardcore, Detroit hardcore, all our friends and that’s pretty much it. Go Birds!
Gridiron HC tackled For The Children Fest in Los Angeles, up next FYA. Don’t be benched in 2024— get your tickets now!
Written by: Allison Payne (@allieepayne)
Published: 28 December 2023
Exclusive: Gordon Raphael talks New York 90s vs Now & The Strokes
Ahead of our upcoming issue, Rambler! had the privilege of sitting down with the legendary music producer, Gordon Raphael, renowned for his work on the iconic debut album This Is It by The Strokes. Gordon’s concise and intensely productive trip to New York this past summer saw him recording with one of our NYC house favorites, Jade Tourniquet.
Gordon Raphael's name has become synonymous with the raw, unfiltered sound that defined The Stroke's early releases. The albums, filled with infectious hooks and gritty lyrics, captured the hearts of listeners worldwide, igniting a sense of unity and belonging among music enthusiasts. Raphael's uncanny ability to infuse every record with a distinct sense of communal energy is a testament to his understanding of the power of music in fostering connection and inner vulnerability.
During the interview, Raphael shared invaluable insights into the recording process that shaped The Stroke's music. He delved into the captivating moment when camaraderie transformed the studio into a sanctuary of emotional expression. Raphael explores the way the band members' deep bond and shared experiences inspired lyrical honesty and a profound sonic resonance. His anecdotes reveal moments of ordinary magic that filled the lives of those involved, as music brought together individuals from diverse backgrounds.
photos by Riley Natalova
Gordon & NYC Editor at Our Wicked Lady, Brooklyn 2023
As a thank you from Rambler! to the incredible year we’ve had, we invite you to explore highlights from our conversation with Gordon that will be featured in our upcoming issue. Together, we delve into the transformative power of shared experiences, showcasing how intimate connections forge the foundation of artistic brilliance.
“….about a year into my reputation, almost 2000, late 99’ : We got evicted. And so I was lucky to find a partner, Jimmy, who said if you can find a building, I’ll help you make a new studio. So I did just that and we made a new studio on Second Street and Avenue A, right across from 2A, a place that’s now called Berlin. So my studio was a kitty corner across from 2nd and A, and that’s where I met The Strokes. I was working. I saw them at LUNA Lounge, which was on Ludlow Street, and all the clubbing was on Ludlow Street. ”
“….the funny thing is there was a band I liked better [than The Strokes] that played before them. And the band I liked didn’t show. But a day later, Albert called me and wanted to see the studio because they’re very sensitive to the aesthetic environment before they make music, and they came down and we had red glitter walls and purple glitter walls and fake leopard print and silver wood and they just loved it. They asked to hear some stuff I had recorded, so I played him some of my band’s music and some other things. I talked to him recently, for my book. He told me after that he ran home to Julian, he lived about half a mile away. He ran all the way home and told Julian they had to record there. And so they came about a week later. ”
“...Jade Tourniquet. I think they got ahold of me still a while I was in England, and they said, Hey, we might want to work with you and I checked out their music and I said like, Oh my god. This is exactly my kind of music. I can’t believe it exists in New York. I haven’t heard rock music this exciting in New York for a long time. And I kind of gushing to them about how much I love them. ”
Echoes of the Past: In Loving Memory Unplugged
Photographed by: Andrew Ferren 2023
20 years ago, six Iowa locals named In Loving Memory defined screamo in just fourteen songs. Involved in Iowa’s DIY music culture, playing basements and selling out Midwest tours, the high school students created one of the first documents of the genre that musicians today are still trying to emulate. Despite the production of only one full length record, In Loving Memory’s status has only grown in the intervening years. As “dust returns to the earth from which it came,” ILM has been resurrected, and from coast-to-coast fans couldn’t be more excited.
Speaking on the album you all put out back in May, I think it sounds a little heavier, maybe darker than your old stuff, but of course a lot of life has been lived since your old music came out. How has this reunion been for you all? Relationally with each other, chemistry wise as bandmates? Is it more of a continuation, like picking up from where you left off, or has it been difficult to get back into the groove of things?
Jen: Just the process of getting back together, like I haven’t seen Tanner in twenty something years, but to me personally with getting back together everybody still has the same personalities, and working together everybody truly contributes to it. Even more so than back in the day.
Brian: Once we decided to do a reunion show, the first step was let’s all get together and see if we can actually play these songs, and see if me and Jen can still fucking scream, but I think everyone was real intentional about what we’ve been doing and the way we’ve been going about the reunion. I think everyone approached it that way, from the get-go. When we all got together I think everyone worked really hard on making sure they had their parts kind of nailed down, like our drummer Spencer hadn’t played drums since we broke up. So when we all got together I think we plugged all our shit in and ran through the album all the way through. We ripped it out the gate, it was pretty sick.
Jen: Yeah, first we chit-chatted for like an hour or so, and then we just got right into it. I don’t know if you felt the same but I was blown away, like we could play tonight. I mean from what I was expecting, to what we could do, there were tears in my eyes.
Brian: Having people in the band who have been playing music all along … everybody kind of knew what they were doing, and getting back together wasn’t a big leap.
Their original album release from 2001, A Discography, is an apparent ode to undaunted juvenile passion. Mirroring that angst in their 2023 album, As Years Pass And Feel Like Seconds, In Loving Memory recounts life into the pages of their past, and reamplifies emo anthems like “I Burned It Down,” or “Moments Like These.” Opening both albums with piercing vocals blaring atop bright guitar with the track “This Is Ours,” and opening line “I can feel them slipping through my fingers,” hailing listeners with shrill screams meant to confound them, it’s apparent In Loving Memory’s adoption of this disrupted discord is what sets them apart from their peers; it’s what has grown them an expansive fanbase during their absence. Listening to the remastered versions of songs that once launched an idea that hardcore could represent the gray area between cataclysmic and alluring, between unbounded and endearing, prompts the question of what it’s been like not screaming for 20 years?
Jen: I feel like the same energy is going into it. It definitely has a different sound but I still feel like it sounds and feels like In Loving Memory, but just a more grown-up version. I mean that first album we recorded we went into the studio, they pushed record, and we ran through the entire album like once through and that’s how we recorded it. Versus this one I feel like we produced it a little more thoughtfully and put a little more time into it.
Brian: I think I have less lyrical stuff to really put out there, because I’ve kind of emotionally processed all of the true emo stuff.
Jen: Actually, Spencer’s friend is a poet, and a lot of our lyrics are inspired by that now. I mean before some of the lyrics would’ve been written about stuff I was going through, so that was kind of a detachment from before. Also we have our group chat that people will send lyrics or stuff into. Sometimes I’ll be out and about and I’ll think of something that’s makes me feel like this, or damn that really hits, and I’ll put it in my mental ‘I’ll use this for lyrics’ sort of bank. So maybe not so much angsty-teenage-emo stuff going on, but everybody still has their shit.
Brian: I think there’s a certain outlet that comes with being in an aggressive, scream-y, hardcore band in general, regardless of if you’re really putting your heart and soul into the lyrical content of it, [there’s] just kind of those emotions that come with letting loose and being on stage again.
Interviewer: The whole subculture too encompasses those emotions, and I’m sure that causes certain feelings to resurface of ‘oh wow I haven’t thought of that or felt that way in years,’ but they were still real emotions you felt at one point. That definitely transfers to the music you all create.
Brian: Yeah, definitely some of the OG lyrics still hit pretty hard too.
What would ultimately transcribe punk rock into the melodic yet aggressive genre that retroactively defined In Loving Memory, screamo, was the vulnerable and emotionally-charged lyricism, backed up with screaming vocals, and chaotic and harsh instrumentals– an overall accidental and impulsive feel to music crafted by (typically) teenagers. Their release, and those from their influences in the 90s would become law, or at least a rough outline to inspire a wave of screamo predecessors and raise an almost cult-like following that persists today.
What has the creative process been like, musically, both in the past, and in the more recent 2023 redux album?
Jen: It usually starts out with our group chat, and Tanner or Jordan will have some riffs they want to run past us, so they'll put that in the chat. That will usually inspire Spencer, and he’ll record some drums and send that in there, you know. Then that will inspire lyrics… Back in the day we’d have been in a garage or a rented practice space, kind of doing it as it comes. It’s kind of the same process from beginning to end, just now we can do it online since we’re all over the country.
Brian: To Jen’s point, it’s a real democratic process creating new songs and working on new stuff. Spencer’s friend Thomas had written a lot of poetry and kind of gave us the green light on utilizing some of his stuff so I think Jen and I kind of literally brought a bunch of that stuff and had a big piece of paper to just write out pieces of it.
Jen: It almost reminds me of our old show flyers, very cut and paste, like ransom note style, taking something that’s very poetic, and making it a little harder.
Brian: It’s just chopping up bits and pieces, and Jen will add some flourishes or lines that she’s got. I’ve never been much of a writer but we’ve always utilized Tanner or Joe writing some lyrics and Spencer and I would literally cut lines out of magazines or books we thought were cool, and piece them together– it looks like lyrics to me.
At the time of In Loving Memory’s inception in 1998, the Iowa scene where the band got their start had roots in predominantly hardcore based noise. Speaking with both vocalists Brian Dingeman and Jen Wiley, seemingly ILM conceded to that crucial chaos of music surrounding them. Bore from Day of Atonement and evolved from the Midwest emotive hardcore scene, we talked getting their start from inspirations like Spirit of Versailles (shoutout Tanner), idols like Foxtails and Saetia, ultimately “shifting [their] focus to what’s turned out to be screamo or emo violence,” and how seeing Love Lost but Not Forgotten prompted the addition of dual vocalist Jen Wiley, because “it makes it extra chaotic and brutal.”
What’s the inspiration either musical or nonmusical for In Loving Memory? Seemingly a lot of bands from the Midwest in the late 90s mentioned being heavily inspired by their local scene because of lack of access to mainstream media, would you say that’s accurate for ILM?
Jen: Back in the day, it really was pulled from so many places– you would meet a cool older kid in the scene and you would try to absorb everything that they had to say. Or listening to music at your friend’s house because you didn’t have that CD or that album, and just try to pick out what you like and go from there. Versus today it’s almost too much. I don’t know that I could pick a genre or find a specific sound that I like because it’s almost overwhelming.
Brian: Yeah, and back in the day I remember you’d see a zine and be like I gotta check that out. Reading liner notes was really big back then too– All right, who’s Converge Thinking. I gotta check them out. You go down the line. I think we drew the most kind of internally from the Midwest scene. And it worked out. We heard Spirit of Versailles when we were young, and we were like: this is the kind of music we want to play. Jordan had more of a hardcore influence whereas Tanner’s more influenced by like 90s emo, so it worked out really well to have that emo influence from Tanner and his really superior songwriting skills mesh with five kids that had been playing in a band that was kind of ripping off Disembodied breakdowns. So, we like heavy hardcore and metal stuff and I think the culmination of that kind of makes In Loving Memory special and stand out.
Having finished their rather abrupt run and released their sat-on songs burnt to a CDr (now available on streaming platforms), In Loving Memory was avowedly gone nearing the end of 2001. Members would fragment off into projects such as: Antacid Trip, Mourning Recluse which would later become Dispensing of False Halos, and Too Pure to Die etc. All encapsulated paths In Loving Memory could have taken, had they stayed together. Leaving the scene as quickly as they entered, with screamo heightening earnestly, ILM directed the genre to their peers. Twenty something years later, In Loving Memory is back with more energy to expel, fueled by the momentum their redux album has brought them.
With starting In Loving Memory around high school age, what would be some advice you have for younger bands trying to break into the scene and get their name out there, or just get started in the scene?
Brian: I think just putting your whole heart into it, not giving a fuck about what anybody thinks or says, and really just going for it, I think that that’s where the most real music comes from. Is ust real young people throwing it out there and not trying to emulate something else.
Jen: We were almost so spoiled back then because we didn’t have the internet and nobody was online talking about our band we were just at shows living in the moment, and doing what we wanted to do and putting out the music we wanted– we didn’t feel like we were being judged really, and I think that’s a hard thing now that we never really had to deal with before. Versus now where people are like ‘oh this sucks,’ but as long as they can tune that out and do what they want to do… like who would have ever thought twenty years ago that we’d be sitting here doing this interview, you know.
With resurgences of 90s screamo bands from Jeromes Dream to Pageninetynine, In Loving Memory follows suit with stacked shows lined up and discussion of possible West Coast tour on their minds.
What can we expect from In Loving Memory in the next year?
Brian: There’s a Usurp Synapse show that’s coming up this year, it should be official by the time this gets published, but yeah. We’re [also] playing Dilly Dally Fest in Philly, and that’s our first show ever outside of Iowa and immediately bordering states. We’re going to play Iowa City on our way out to Indianapolis [for the Usurp Synapse show] with Frail Body and Your Arms Are My Cocoon, along with some local Iowa City stuff. We’re going to play ZBR fest in Chicago in May, and I think that’s all really what’s going down.
Jen: We would love to do everything but Jordan has three businesses between him and his wife, Brian has his restaurants, Joe’s a doctor, there’s farming season, and Spencer’s gone for all his piano tuning stuff.
Tonight, In Loving Memory and fans can scream in unison, knowing the patient wait is over– that they are back.
Brian and Jen, thank you for your time! To catch up on what In Loving Memory is doing now, follow their Instagram, and catch a show date near you!
Written By: Allison Payne (@allieepayne)
Published: 22 November 2023
Cover Image By: @arieljuniper
A Conversation With Puddycat!
Over the weekend I had the opportunity to sit down and catch up with the Purchase band, Puddycat, comprised of lead guitarist Noah “Holly” Bancroft, Aurele “Aj” Henry on bass, Smokey Joe on the kit, and Matthew O’leary on vocals and rhythm guitar. Puddycat is just one of the many bands to come out of SUNY Purchase’s eccentric music scene, making a name for themselves and other emerging bands north of New York City. Here’s what the band had to share during our conversation on life, music, and their creativity…
Pictured, from left to right, Holly Bancroft, Aurele Henry, Smokey Joe, and Matthew O’Leary, A.K.A. Puddycat.
Who is Puddycat?
Matt: Puddycat isn't a tangible thing.
Joe: I mean we're touchable.
Holly: Yeah, you could touch us.
Matt: I feel like Puddycat represents our homie shit.
Joe: There was never a conversation about ‘let's start a band’, we just started jamming together and one day we had an album full of songs.
Holly: Yeah, I feel like me joining Puddycat also has coincided with my friendship with you guys, it hasn’t been about getting to play shows, just like... getting to see my friends.
Aj: Yeah, you joined the band like an hour after you became our friend, it was crazy.
Matt: it just works.
When and where did Puddycat meet, and how did each member join the band?
Matt: Well, [Joe, Aj, and I] went to school together, we all already knew each other.
Joe: We weren't like really friends until junior year.
Matt: Joe knew I was writing some songs, then he started drumming on some songs, then Aj started playing bass on some songs. Then a few months in we all sort of realized that it was sort of a band.
Joe: Like, “are we in a band?” I guess.
Holly, what was the story of you joining?
Holly: I was walking around [purchase] I saw these guys sitting outside of the hub and they said, “in 20 minutes do you wanna come join us to eat” and I said fuck it I'll join. We had a meal together; a very nice lavish meal, and they were talking about how they were gonna be practicing –and I had actually wanted to join Puddycat before coming to school, I bet they could use a guitarist. My plan coming to purchase was to join a band at the start of it– and I was like “oh I have this room mic that you could use to practice” and eventually [Matt] was just like “you wanna bring your guitar.”
Matt: And then we played through the set with improv, and we were just like “oh this is good.”
Holly: There was a show that we played, I had to learn all those songs in that week.
Aj: Yeah, that was impressive.
Holly: It was fun.
Holly, laying down his tracks for the new album in SUNY Purchase’s recording studio.
Where did the name Puddycat come from?
Matt: Grandpa Aurey.
Aj: He says that all the time... I don’t know. Every time he sees a cat, he calls it puddy cat, and he likes looney toons a lot... Grandpa Aurele.
What's the creative process for Puddycat?
Matt: As for right now it's just, I’ll demo a song and everyone else will kind of like hop on it and write their parts, but stuff usually changes. After we’ve played it a few times usually some things will change, and then we’ll record it, and that’s the song.
Matt singing his heart out.
What's the inspiration for Puddycat, musical or nonmusical?
Matt: Lately I've been mainly inspired by all my friends who make music, and listening to their stuff makes me want to make music more.
Which friends?
Matt: You got Mallard Westcott, Mildly Allergic is awesome, Car Becomes Airplane... not all these people are even friends just like purchase bands. Oh! Warm Wishes! Warm Wishes is a big one. Warm Wishes, the way they go about making music has really inspired me a lot.
Holly: They put kindness in our hearts.
Listen to all the artists mentioned above and more in Puddycat’s specially curated playlist here:
Who are each of your top three artists?
Aj: Elliot Smith, Radiohead, and Wu Tang... which is a crazy combo.
Holly: Alex G, Don Caballero, and Brave Little Abacus.
Matt: For me I'd say Car Seat Headrest, Warm Wishes, Mildly Allergic.
Joe: I'd probably say –not all time, right now– Jon Bellion, and I listen to a lot of Mom Jeans... so much Mom Jeans.
What is your favorite show that Puddycat has played?
Aj: First stark show.
Matt: That one was really fun, but I think my favorite we’ve ever done, it was on the 15th of September, it was our first college show. We played with There Are No Tigers, Bird Week, and Mallard Westcott, we opened. I think that’s the best crowd we’ve ever gotten, and probably the best sounding show we’ve ever done.
Aj: And it felt really good.
Joe: I broke my stick dude, right off the bat.
Puddycat fans crowd surfing during the bands debut at SUNY Purchase.
Where can I find Puddycat when not playing music?
Holly: Out and about.
Joe: At Benny’s Brown Bag! I work there like every day of the week for the most part, as much as I can. It's like I'm there or I'm home practicing that’s basically it.
Matt: SUNY Purchase, me and Noah be around every day... Moo Moos Creamery –
Aj: Not anymore... yeah fuck Moo Moos Creamery! put that in.
Matt: Yeah, we just be hanging around our normal spots.
Aj: I’ll also be at Benny’s, starting this week, I'm excited.
Smokey Joe, jamming out, sporting his Benny’s Brown Bag T-shirt.
What is Puddycat’s pre-concert routine?
Smokey Joe: Me smoking weed for sure. For me to play a show I'm most comfortable when I'm stoned out of my mind. If I'm going into it totally sober, I feel like weird.
Aj: I'm the opposite. I feel like when I'm playing totally high, I get anxious.
Matt: Yeah, I usually don’t like smoking before the show, I feel like if there's a good amount of people in the room, especially a good amount of people that I don’t know, that is like my ideal concert setting.
Holly: I feel like being too high messes with my technical abilities.
Matt: Yeah definitely.
Holly: I don’t like to be fucked up when I'm playing live y’know
Joe: It's weird for me I'll spend most of my time practicing while being high– even in school we’ll always have like a wax pen or something. And I would just go and smoke that before going to band class or before practicing. It’s weird, it’s like the more high I get, the more in tune I am with the sticks in my hand, and I’ll notice all the little intricacies of what’s happening, so it just gets me more in tune.
Aj: Your flow...
Joe: Yeah.
And the post-concert routine?
Joe: Drinking like lots of cold water.
Matt: I feel like if were opening, definitely watching the other bands play, seeing their set, also having fun at their set. Love to dance around.
Holly: Hype them up.
Matt: Yeah, but after that just kinda hanging out with friends.
Holly: Slumpin’.
Matt: Yeah, I'm usually pretty tired
Holly: There's something serene about – I think it was the first or second show I played with you guys– walking all the way from The Stood, with my ear buds in, to the music building. It’s like late at night, passersby, they don’t know what you just did.
Matt: Yeah, it’s a weird feeling.
Aj: Yeah, it is.
Tell me about your history at Stark Vintage.
Matt: Stark Vintage hosted the first ever Puddycat show.
Joe: How’d you meet stark?
Aj: Yeah, I also don’t know.
Matt: Well, I met stark just from going into his shop, and he said he did shows in the past. And I asked him “what if we did a show?” and he was ok with the idea, and he let us do three shows. The good ole days.
Puddycat setting up for their first show at Stark Vintage in Peekskill, New York.
What is Joe saying in the intro to your song, New Jeans? What's that about?
Joe: I don’t even know what was going on, Aj kinda pulled that from the archives of his voice memos. I think I was just talking about– I was just bothered that day, like with the way I was playing, and it didn’t even Matter what I was doing, if it sounded good to them. it just sounded weird to me; I was in a weird spot.
Matt and Holly in dresses performing at their purchase debut.
Can you talk about the wardrobe choices of Puddycat?
Matt: Yeah, shout out to Mora for running the free store. Like two nights before our show, we just walked up in there, got a bunch of random clothes and walked out. I definitely like dressing up on stage, it's fun.
Holly: I like playing with gender norms on stage, ‘cause you know, gender is performance... we’re performing, why not put on some eyeliner y’know. Do something different on stage.
Matt: You were so twee at the last show.
Holly: I was so twee; I was wearing a red dress with jeans underneath.
Matt: Juno style.
What makes Puddycat smile?
Aj: We love a good wholesome moment.
Joe: I'm intrigued with humans as a whole. People are very interesting, and like sweet, people do silly little things all the time because it's just what they wanna do, it's cute.
Holly: It's cool to see how other people love, how other people find their joy, and you just find joy from that.
Can you talk about life in northern Westchester?
Aj: It's a lot quieter.
Matt: In our later teen years, we would kinda just drive around our hometown and hangout every day, I think every day senior year [Joe, Aj, and I] were together just hanging out, and we got really close our senior year hanging out every day.
Aj: I mean it's not like we had shit to do half the time, we would just like sit together in a car and either talk or not talk at all for a while ...listen to music.
Joe: Yeah, music was a constant always, no Matter where we’re going or what we're doing, always listening to music or showing each other new music and stuff.
Matt: It's a more secluded lifestyle.
Aj: Which I kinda like.
And Holly can you talk about where you grew up?
Holly: I grew up in the upper Hudson Valley, Dutchess County. The music around me was the Red Hook D.I.Y. scene, which is where that band, Car Becomes Airplane, comes from. And I spent a lot of time at home mostly, I didn’t go out too much, I was mostly walking around in the woods or practicing my guitar. Pretty quiet place.
What is the body and the blood of Puddycat?
Aj: Grabba is our body.
Matt: I think that my basement was the body, and we were all the blood.
Holly: I'd say the blood is black coffee.
Joe: For me the blood is tea, I love tea.
Holly: The blood’s a caffeinated drink.
Joe: The body is weed probably... yeah, the body is just weed. The body is weed, and the blood is tea, those are things ill ingest every day.
Matt and Smokey Joe practicing in Matt’s basement.
What's one moment you were like “This is Puddycat.”?
Joe: Honestly for me it was a little known Puddycat show, The Gratitude Festival, right before Stark Vintage. The Gratitude Festival is like a bunch of students from Putnam Valley would get together and play some music, do poems, whatever. You'd get the stage for a few minutes, and Matts fucking crazy ass decided to do ‘Beach Life-In-Death’ by Car Seat Headrest, that’s like 12 minutes long. We had the longest set of anybody ‘cause everyone else is doing one song. We get 8 minutes in, and Mr. Odell shoots me this look that’s like ‘what the fuck are you guys doing up here right now’. And for me that was the moment. We were doing stuff different enough to kinda claim our own sound and be like “This is Puddycat.” We’ve curated a song and were showing it to people, and it feels good.
What can we expect from Puddycat in the next year?
Matt: Well, definitely an album, we're recording for an album right now. It's definitely closer to the finish line than we imagined, because we have just a lot of stuff laying around. But other than that, just the same old shit, playing shows...
Joe: New merch.
Matt: Yeah, maybe some new merch.
Holly: I think if we practice enough, we’ll get into Carnegie Hall, guaranteed, end of the year. December 31st.
Everyone/thing Puddycat wants to say thank you to?
Aj: Micheal Stark.
Joe: Gotta thank Mr. Odell.
Aj: Yeah 1000%.
Matt: Yeah, Micheal Stark, Mr. Odell.
Joe: [Mr. Odell] Fathered me through high school and just taught me how to play drums, and then just set us up in the most beautiful way. He stuck us all in a room together and was essentially just like “go.”
Aj: Definitely one of the biggest supporters we had at the time.
Is there anything else Puddycat wants us to know?
Matt: The first album is coming out soon... very soon. Hopefully by the end of this year, if not then, early next year.
Joe: It'll just be better.
Enjoyed this article? Check out their Instagram and ours for current updates on music and local scene information!
A Conversation With Puddycat!
(@iamnotpuddycat)
https://spotify.link/AqZ62JXi5Db
Written/Photos by: Benjamin Joseph
(@frenchkissvomit)
Brad Stank, and In The Midst of You!
Photo shot by: Corey Rid
Singer-songwriter, Brad stank, on his soon coming LP, In The Midst of You. This feature catalogs Stank’s thoughts on the new release, his creative process, vulnerability, romance, and more…
Can you tell us more about the inspiration behind your upcoming single, "I Belong to You"?
“It’s a pretty simple love song, with the idea of letting go of the past, and allowing yourself to be in the midst of your lover fully”
You mentioned the influence of the Love Unlimited band on this track. How did their music shape the sound and mood of the song?
“Yeah! I’m a huge fan. They have a song of the same name, which mine is massively inspired by. I tried to make it my own, and obviously it’s pretty different sonically. But I owe them a lot for this one”
What was the creative process like for "I Belong to You," particularly in terms of the song's unique rhythm and lyrical themes?
“Lyrically it’s in keeping with the rest of the album, the ‘in the midst of you’ mindset, and I liked the phrase ‘I belong to you’, it’s a very simple but vulnerable way to state your feelings for somebody”
Could you share your thoughts on the juxtaposition of vulnerability and romance in the song's lyrics, as you mentioned?
“Vulnerability is quite romantic, so I don’t think it’s so much a juxtaposition, but I think I mentioned somewhere that the title could be a Gospel song, which is a line that’s nice to tow, between spirituality and romance. I like to play with that contrast in a lot of my songs”
"I Belong to You" features Lydia Kitto on backing vocals. How did her contribution enhance the overall sound of the track?
“Lydia’s unreal, I’ve known her for a few years now and she did some BVs on my last album too. She came to the studio and just layered this gorgeous harms like it was nothing! She’s v busy these days, I just saw her with Jungle on a late night US show, so I feel v lucky and thankful to her for coming and blessing the song”
This song is part of your upcoming LP, "In The Midst of You." What can listeners expect from the album, and how does "I Belong to You" fit into the larger project?
“It fits in nicely! I see it as a lead-in to Natty Wine, which will make more sense when you can listen to the album through. The record feels more cohesive than anything I’ve done before, more romantic, sonically more interesting… I’m really excited for people to hear it”
Could you provide some insight into the creative direction of your LP and how it explores the essence of creativity and knowledge you mentioned in your bio?
“Yeah, like I said before I wanted it to be more interesting musically than previous records. And really dive into the idea of making it sound romantic and lyrically more vulnerable. For me it’s important, in the context of the wider world, to try and add some sort of beauty to everything that’s going on rather than get dragged down in it. Sometimes it feels like the world is geared towards us all being miserable, so I want to make music in defiance of that”
Can you describe the significance of the title "In The Midst of You" and how it ties into the themes of your new project?
“ It’s a quote from the bible, which is more along the lines of “god is in the midst of you,” etc, so I took that and kinda flipped it into a romantic thing. But I like the title a lot, it feels weighty, and like a good overarching idea of what I was trying to say in the lyrics”
Are there any upcoming performances or events where fans can experience your music in a live setting?
“Yes! We’re doing a UK instore tour in January. And then a proper full band tour in April. I think we’ll get to the US next year too, hopefully September time.”
Written by: Kisi (@zinefreak)
Published on: 11/02/2023
Reuniting with Algernon Cadwallader
End of September, my phone buzzed with a notification of the return of Algernon Cadwallader to San Diego. One more time they said! Hitting up the North American cities they missed on their reunion tour in 2022, San Diego can expect a full house for the progressively Midwest emo bands’ last, last hurrah.
I tuned in (a little late) to our Zoom meeting, with high hopes of discussing the final return of Algernon, getting behind-the-scenes on their lives for the past ten years, and on looking towards the future. The Pennsylvania band—composed of Peter Helmis, guitarists Joe Reinhart and Colin Mahony, along with drummer Nick Tazza, greeted me with soft hellos and enlivened energy as we delved into the basics.
Helmis: We started back in 2004, not far from where we are now actually in the Pocono Mountains of Pennsylvania, jamming and getting ready for our show in Philly next week. I guess you could trace the start of the band back to the Summer in 2004, with music coming together in the Fall/Winter and [we were] getting ready to play our first show on Christmas day. We lived in this house in Philly, and we used to have shows on Christmas night in the basement. The first Algernon show.
Helmis went on to talk about the short run of their band for the next seven years, ultimately disbanding at the height of their careers in 2012.
Helmis: We kind of decided to end it while we were on top; not so much call it a day on making music, but kind of saying this is a good place to branch off into different projects. Sort of like, this is the end of Algernon, for now.
Some of the seemingly most influential emo bands dissolve as they approach the precipice of greater recognition–their legacy is often intertwined with a sense of incompletion, and encapsulated by their criminally small discography (the people want and need more)! It’s only fitting that the trio felt similarly, and took a few years from the demanding DIY aspects of Algernon, to focus on other projects, and life as it happened.
This limited “silence” from the band amidst their absent years, was overall beneficial for the promising musicians. Helmis, Tazza, and Nate Dionne formed the band Dogs on Acid, and other projects surrounding the members emerged. Tazza mentioned that, “eclectically here, there is just such a strong passion for playing music and being friends,” that in any way throughout this gap, they were involved with one another (both musically and personally). Mahony embarked on the journey of fatherhood with his two kids, saying, “I think I took the bigger break out of all of us. I mean especially playing live shows… When I was playing it was strictly basements you know. I didn’t even own an electric guitar. I had to go out to get one before we started playing again [referencing the 2022 tour].” Helmis took to moving to Portland, Tazza to Seattle, and Reinhart is a major working producer/musician. Having been friends since high school, experiencing the shifts with revolving band members, the original crew that comprises the band has been bonded from coast to coast, and fans can expect music in some form, from the likes of these musicians. Evidently this break allowed the members to appreciate playing with each other (as it became more intentional to plan meetups and practices etc.), and also witness the DIY scene coming back full circle, with open arms and open ears as Algernon returns for the last time.
Our conversation naturally gravitated toward music, a common passion binding these musicians. They eagerly shared their favorite bands and the influences that led them into their respective genre… The band touched on Philadelphia and the greater New Jersey area being home to a big Pop-Punk and Hardcore scene; Algernon was later introduced to 90s emo bands like American Football, and grew to become a medley of what they were surrounded by, and the sound they had already established. Helmis talked heroes like Braid, or Cap n’ Jazz, and the list of local Philly recs are endless– shoutout to Sun Organ. In listening to Fun from 2009, or self-titled in 2018 (being a conglomeration of covers, previous re-mixed songs etc.), it’s clear that Algernon bears the unmistakable imprint of all the classic yet heavy, “midwest emo with hardcore sensibilities,” influences that have shaped their sound, while still not being fully branded or forced to cater to a certain genre's expectations.
Discussing the start of Algernon and the break that led to this revival of the band, demands thoughts and feelings on their released music. Recording independently, almost everything being unplanned, and still producing a catalog of stripped-down sounding songs (not an aesthetic decision), all contribute to their accomplished creation of art out of necessity. Parrot Flies album is a prime example of the raw and imperfect production catered to Algernon’s pure and authentic style. Go stream, or catch them on tour and hear the tracks live!
(Interviewer): Is this really the end for Algernon, and if so, what seems to be on the horizon for everyone in the future?
Helmis: “I’m not going to say we’re never going to play again, but we don’t want to overdo the whole reunion thing. We already toured the whole U.S, Japan, [and] some of Europe. We [just] did the first tour and we had a shit-load of fun, we were like– let’s do it again!”
Reinhart: “We’re always playing music in some way, shape, or form. It’s great when we’re together, but we don’t live blocks away like how we did when we were kids.”
Tazza: “Pete will come down to Seattle sometimes, and we’ll make songs and whether they’re for nothing or for some Dogs on Acid stuff, they’re really fun to play so I think we’ll always in some way [make music together]. Like if Pete needs a drummer, I’m always down no questions asked.”
Covering all the basics I gathered that with no expectations for the upcoming tour other than playing songs and having fun, fans can take assurance in knowing that Algernon feels overwhelmingly stoked that they have kept their band alive this long, for the last of the reunion shows to be on the horizon. Catch them at a city near you– don’t sleep on tickets, they’re bound to be sold out!
Written By: Allison Payne (@allieepayne)
Published: 10/25/2023
Sitting Down with Sitting on Stacy
Sitting on Stacy with Diego Rodrigues of Minishoppingcart
09/22/23 at Aviator Nation Dreamland in Malibu, CA
Photograph By: Allison Grace
U.S tours, sold out shows, near death experiences, and nothing but excitement surrounds one of the most up-and-coming bands of 2023– and they’re just getting started. This article will detail the progress Sitting on Stacy has made to claim their title of cross-country rock sensations, derail anticipations about upcoming releases, and give a behind the scenes look on the inner workings of the ultimate boy band.
Frontman Hoyt Yeatman, along with bassist/vocalist Kyle Hart, and drummer Trevor Smith seem to be the holy trinity in this ska/indie rock piece going by Sitting on Stacy. Jamming in multiple kick starter bands throughout high school, and reuniting for this run of Sitting on Stacy, the band has found success in utilizing their brotherly bond-esque chemistry, to share their genre defying music with the world. Beginning in the SoCal area, SoS rocked beloved venues such as The Che Cafe, Soma San Diego, The Irenic, and many more before getting scouted to open up for the Jonas Brothers: ‘Remember This’ tour.
Texas was supposed to be another stop in their cross-country tour, yet it came to be a vessel of hope, and the push this trio needed to limitlessly pursue their music career. Sitting on Stacy reflected upon the night their audience, captivated by their sound and entranced by their lyrics, connected with the musicians– and accomplished what would seem to be a lifelong dream of theirs. In awe of their expansive fanbase, they took the opportunity to headline two additional tours, spanning the course of 2022. Accompanied by the AquaDolls for their first run, and then combining forces with Jakob Nowell for their follow up ‘Secret Sauce’ tour, the drive to make their dreams a reality was further instilled and supported by thousands nationwide. This exposure led to collaborations with artists such as Rome Ramirez of Sublime with Rome, Pierre Bouvier of Simple Plan, and Fat Mike of NOFX, just to name a few.
With inspiration and decades of wisdom from these musical talents, Sitting on Stacy is currently getting ready to drop their next album. There is a medley of upbeat pop tunes, to in-your-face and ultimately mosh-inducing hits, that display not only their true love for diverse styles, but a passion for creative growth. Their first album “Obsessed” came out in 2017, and second, “Perfectly Sane” in 2019. These two pieces of utterly relatable expression dropped while the three members were continuing with college, hoping to figure things out. This album signifies their learning period filled with trials and errors, personal tribulations, but ultimate growth both individually and musically. Both albums are chock-full of raw and unleashed emotion that SoS is known for, yet they’re crafted in a more mature way, to showcase the progress they’ve made and the path they’re setting out on. In their own words, this upcoming album is “eccentric, electrifying, catchy, haphazard, and kerfuffled” and we certainly can’t wait to hear it.
Two singles from the collection have already been publicly released, for those waiting in anticipation. The first, “Baby Girl,” dropped September 6th, 2023, portraying a cathartic, break-up, and becoming an anthem for those experiencing sappy heartbreak, and pent-up frustration. Three weeks later, the single “Crème Brulé” was released… it’s a sugary and sweet song about finding that one, perfect person, and all the feelings of complete and total bliss that accompany knowing them. These stark contrasts in style demonstrate the growing range of genres that SoS wants to continue to create and throw their own spin onto. The album release date hasn’t been set as of yet, so make sure to check out their Spotify and Instagram for updates!
Their immediate big plans include accompanying the band, Mustard Service, on their October through November tour dates. From Colorado to Florida with five other states in between, it seems like SoS are becoming pros at cross-state traveling. With this being their third US tour, Rambler friends and I needed the unheard-of traveling stories. What is life really like, living in the back of a van with your bandmates for a month? Are there any horror stories? Sitting on Stacy sat with us and gave us the answers we all wanted to know– they delved deeper into the bittersweet realities of cross-country touring. Here's what we found out. Most of the cons are normal, (if you’re a promising rockstar) such as not getting enough sun, shady hotels with borderline crime scene rooms, liver damage, but shockingly enough being tired was Sitting on Stacy’s nearly fatal flaw. While driving at 1:00 a.m. in the secluded mountains of Nebraska, going eighty mph and blasting The Beatles (of course), the touring band almost experienced a gnarly collision. The story was recounted as two beaming eyes approached Sitting on Stacy’s driver's side. Thinking nothing of it, recognizing the normality of a car driving in the opposite lane on an interstate, the musicians trekked on. Uneasiness lingered in the air when suddenly it became clear… The oncoming driver was in their lane! Eyes darted, music became too loud, tension arose, but all was quickly resolved with a swift turn in the wheel, and a slight swerve that practically saved the musicians' lives. Crisis averted. SoS noted that in the future, "no more tired, late night tour drives!"
Apart from that unexpected terrifying experience, making music and touring is the dream they’ve all been working towards and it’s evident in their music and even more so at their live shows. Through jumping into the mosh pit, selling out almost every show, and sticking around to meet every fan they can, it’s made clear that Sitting on Stacy loves what they do; they do it with the highest and most welcoming energy you could imagine. So what are their dos and donts for upcoming bands, especially in the SoCal area?
Don’t: Sign with a label or do drugs!
Do: Practice consistently, pass out flyers before a show/promote on social media, focus on playing larger shows (maybe twice a month) rather than small shows every week, and put out music as soon as you feel good about it– don’t wait!
With such large accomplishments behind them and a blindingly bright future ahead, Sitting on Stacy shows extreme potential to reach new heights in the musical world and break down barriers that separate genres and stereotypes. With them regularly touring, don’t wait, get your ticket to their nearest show to you and figure out why everyone’s so obsessed with a band formerly named: Paper.
Enjoyed this article? Check out their Instagram and ours for current updates on music and local scene information!
Written by: Mykah Worthington (@inside.reds.head)
Co-author/editor: Allison Grace (@allieepayne)
These Angels Are Robots: ACNC X LLBE
A Continent Named Coma: Che Cafe x 09/24/2023
Old Gray. Envy. Saetia. Underoath. On the third major stop for A Continent Named Coma and Live Longer Burn Everything’s dual-headlined tour, we talked about these screamo legends (and more), inspiration, and all the old, new, and early 2000s sound that has captivated and motivated these musicians to enter and conquer the booming emo scene.
September has been THE ultimate month if you’re into any sort of post-hardcore+emo noise. San Diego’s local venue The Che Cafe hosted These Angels Are Robots tour on the 24th– with a stacked lineup and our friend in Dead Relatives Magazine vending, we aren’t surprised the night went explosive, and surely sold out! I met the crew of ACNC, and with the bassist, Ryan Peterson, being a member in both bands, I was lucky enough to score some time with LLBE as well.
I originally reached out to ACNC, Arizona’s latest post-hardcore/screamo piece on the rise, to gain some casual insight on what touring has been like and what future plans are on the horizon for listeners to look out for etc.-- I was taken aback by the intentional and insightful answers both LLBE and ACNC provided me with. Of course the conversation had geared away from the lighthearted (yet still essential) pre-planned questions I had, and veered toward an impassioned path; this feature will entail everything in between the mundanity of touring life, to the raw reality of being an emo based musician.
The opening band Polio, and the already packed house, was causing heavy commotion as myself accompanied by both ACNC and LLBE members made our way to the back patio of the cafe. The presence of calamity surged about the outside space as we ventured into our intimidatingly low-key conversation. Introductions are a necessity, so we threw around our names, setting the precedent to delve into the down-low/behind the scenes moments of the tour. Immediately we started talking about music. Their favorite bands, what got them into the genre they represent, recommendations, and their influences. Travis, from LLBE, led with Fear Before, Billy mentioned, “Blood Brothers, a lot of MySpace screamo like Duck Duck Goose, and then a lot of the newer Mathcore kind of stuff like Frail Body, Gillian Carter,” and Ryan being the bridge between both bands said that, “for me personally, I think one of the bands that I draw from most, is Envy [...] A lot of our earlier stuff is really post-rock influenced as well, and you know we were really into death metal when we started the band– Oathbreaker too.” The budding, almost sixth wave revival of the Skramz genre that’s been taking place in SoCal has also inspired both ACNC and LLBE. Shout outs to OneWayMirror, Widowdusk, and Knumears! Paul from Coma mentioned Shin Guard as an inspiration to get more into more Skramz style drum patterns, and Tristan kept it short and sweet with noting that their inspiration is: “From First to Last. Yes!! ‘Dear Diary, My Teen Angst Has A Body Count’ is tattooed on my psyche.” With both bands having EPs out on streaming platforms, it’s very clear the type of melodic and heavy screamo influences that they have rooted in their sounds. They’re all the classics, they made the rulebook on being emo, and they’ve helped pave the way for future legends like ACNC and LLBE.
Our conversation about musical icons quickly transitioned to one about the actual music. The lyrics, the instruments, and the stories behind it all.
Allie (Interviewer): “I really wanted to know, and I think in general the scene wants to know, what drives you all to write these powerful lyrics that speak to that sullen side of us; what motivates you to participate in the creation of violent noise with almost poetry as lyrics– there has to be some stories?”
Travis (LLBE): “It’s freedom [...] Everyone we know is struggling, if you’re not, you’re probably not a real one, and we need to come together and music is the best way to do it. I feel like when I was a kid going to shows, I didn’t know who I was, I was struggling to just be alive, and people would give you a space.”
Allie (Interviewer): “Almost like a safe space, where music can bring us all together and be that connection between our own personal struggles and the struggles of the kid next to us.”
Paul (ACNC): “I feel like if it’s just a single person who comes to the show, or is listening to the song or the lyrics, and connects to it and comes up to you and says, ‘hey what you said here about this, impacted me,’ that could be the only person that’s ever said that to me, and that would be enough of a reason to make music.”
Billy (LLBE): “That’s funny, because for me, I just do it because it’s fun. I just enjoy getting up there and doing it, you know. It’s just so much fun for us to get up there and play our set and we’re like fucking tight all the time– I don’t know it’s just a really fun time.”
Ryan (ACNC/LLBE): “Literally everything they said, plus for me it’s just out of pure necessity. I feel like I have such a strong passion for music; it’s like rooted in my soul to where if I didn’t have it, I wouldn’t exist and I’ve always been attracted in general to more abrasive music– like noise, screamo, hardcore, everything.”
Tristan (ACNC): “All this is such a big catharsis. It is the release of every shitty day, every good day, from when I’m wanting to damn near blow my brains out to when I feel like I’m on top of the fucking world. It’s a necessity for me. I can’t not.”
Paul (ACNC): “I feel like I can speak for all of us when I say that it gives us the purpose that we have.”
These are the stories, this is the truth that an audience wants to hear– your idols, your local scene, musicians in your city, are cultivating a community where freedom is the precedent. Where the room can be noisy and the voices can be loud, but it’s genuine sound and intentional words. Both A Continent Named Coma, and Live Longer Burn Everything, are in this for the reality that they wouldn’t want to belong anywhere else, and it’s a welcoming space for others to experience the same (aside from the few times where they’re in this for the ‘big screamo money’).
Transitioning from the intense thoughts about what drives these musicians to break into the emo scene, we quickly started to bring a more permissive attitude to our talk. With this being the first full-fledged tour for both Arizona bands, I needed some insight on what touring with two proclaimed bands of friends has been like– especially to take a lighthearted look at van life.
Billy led with some positive energy and a look into the previous nights on tour with it being LLBE’s first couple of sold out gigs– with Quiet Fear, and Vs Self, to playing Programme Skate Shop and getting psyched for The Haven in Pomona! Both bands feel more than ready for what's to come for the rest of this stretch. ACNC talked about “making core memory after core memory after core memory,” and relayed that it’s been practically living the dream. To my surprise they said that they were well prepared for this tour, with time, money, and dedication– shoutout to Paul for his tireless effort!!
Emo kids in the SoCal scene, friends from out of state, and far away readers, tune in to ACNC and LLBE on streaming platforms, and get ready for the next wave. The scene is changing and we are ready with open hearts, and open minds! Talking and listening to this dream crossover was a pleasure; we all patiently await what’s next. Stay tuned.
Written By: Allison Grace (@allieepayne)
Published: 10/03/2023
Why The White Collars 'Should Be' on Your Radar!
Photography By: Claudio Flynn (@cpflynn04)
Who watched Surf’s Up when they were a kid? Fell in love with the idea of sun, surf, and vibrantly beautiful music. What if I told you there was a band that could give you that nostalgic feeling everytime you see them play or even just listen to a song of theirs from your phone or radio? Happy, good, goofy vibes are exactly what this band delivers to their audience on and off stage. Using touches of inspiration from Red Hot Chili Peppers, Incubus, Sublime, Blink 182, and the Beastie Boys, listeners get treated with modern 90’s style Ska, Rock, and Rap blended into the package presented to you today. The White Collars!
The San Diego sunrays beam especially bright on whatever stage, backyard, or garage The White Collars rock in/on, leaving a high energy air that encourages fans to get intoxicated on dancing and singing alone. With Cameron Power & Neil Kuhn together on Guitar and Vocals, Ben Freeman on Bass and Trombone, and Aidan Dominé on Drums, your next favorite RockSka band is on the rise! While Ben and Cameron have been close friends since kindergarten, the band truly came to fruition around 2021, releasing two singles; “Rollercoaster”, on August 2nd, and “Should Be”, September 28th. Gaining popularity for their upbeat sound with at times conflicting lyrics, The White Collars artfully display the range of emotions that can be felt in a single feeling or thought.
In 2022 The White Collars went full force with two more singles; “Not Gonna”, released March 18th, and “Mr. Mature”, October 7th. Not slowing down, in between the aforementioned songs, the band dropped an album titled “Vintage Collars” on May 13th. This collection of tunes includes sounds of classic Surf Rock, Ska, Punk, and even a Rap song! A re-recorded version of “Rollercoaster”, stars alongside other fan favorites such as “Patience From Chili’s” and “Gone Again”. This album truly cemented the band as one to watch out for, with their in person performances battling for the spotlight with the songs themselves. Since the “Vintage Collars” release there's been, you guessed it; two more singles uploaded. “Anaphylactic” made its debut on February 17th, 2023, and “Break The Wall” two months later on April 20th.
The current group of boys came together after meeting in college at SDSU, meaning that most of their shows take place over the school year. Though the summer season can be a challenge when planning practices and events long distance, they get some help from other bands within the local scene. Ryan Moyers, drummer for the band Breakside (article coming soon so stay posted!) fills in for Aidan during any scheduling conflicts, guaranteeing a killer set every time he sits behind the drum kit. That ‘find-a-way’ mindset applies to some of their favorite shows as well. Loving the DIY shows they do around SoCal, any place with open space gets transformed into an incredibly energetic venue, throwing all of themselves into every last lyric and note.
With the majority of their music being positive, their biggest goal is to share songs that are not only fun to play and hear, but hold special meaning worth taking into account. In the words of Neil, “sometimes it's just a feeling you get, whether it's completely you identifying with it or not.” Circling back to their at times conflicting sound and lyrics, The White Collars perfectly capture what it is to find comfort in the uncomfortable. Take “Should Be” for example– a song about how it's good to be sad sometimes, but mainly stating that as humans we should allow ourselves the graciousness to feel whatever we want without telling ourselves that there's a certain way we ‘should be’ responding or feeling.
With the school year now back in session, The White Collars are in full swing, playing shows around State Campus, Ocean Beach, and a regular spot of theirs- the San Diego Yacht Club. But, if you can’t make it to a show of theirs soon, don’t worry- they’re making sure their long distance listeners get some new music too. Though I'm not at liberty to say too much, the guys have been working on a rock song that they plan to release soon, so if you don’t follow their instagram already, make sure you do! (@the.white.collars) Either way, in person or online, give The White Collars a moment of your time and I promise they’ll become a staple on your Spotify playlists!
Enjoyed this article? Check out some other pieces I’ve written on local SoCal bands down below!!
Written By: Mykah Worthington (@inside.reds.head)
Published: 9/15/2023
Dead Rosetta Rocks SoCal
Photography By: Dylan Lucas (@asian_grom)
How many of us grew up listening to the Rock and Punk bands of the 80’s and 90’s? Bands that make music which speaks to the part of ourselves that wants to scream. Bands like System of a Down, Radiohead, or Avenged Sevenfold- who you can identify with and who give you a sense of freedom to feel whatever you want to. While these groups are all dear to our hearts, we need something new. A new sound or voice that can be heard and felt in waves. Thankfully for all of us, that new-next-best-thing is rising to popularity in the Southern California area, and their name is Dead Rosetta.
Creating music together since 2020, and later playing one of their first official shows on May 30th 2021, for the Plate O’ Shrimp Fest at Fiesta Island- Dead Rosetta has become a loved fixture in the San Diego show scene for years now. Using inspirations from the formerly mentioned bands, they have perfected a headbang blend of Alternative Hard Rock. Or, as they so fondly like to refer to themselves as “Alt-Metal-Death-Shit”. With Noah Miles on guitar and lead vocals, Max Castro as lead guitarist, Isabelle Bain on Bass, and drummer Joey Faddick, the 4 musicians that make up Dead Rosetta ensure a satisfied and sweaty crowd at the end of every show they play.
Writing songs mainly from their own experiences sprinkled in with some societal influences, their most mosh-inducing hits are ‘Ego’ (released June 3rd, 2022) and ‘King of Everything’, which was released on their first EP. Named ‘The Wasted’ this EP (released September 9th, 2021) includes 4 other songs titled- ‘Rate’, ‘Dolly Parton’, ‘Her Grip’, and ‘The Wasted’. Every single one of the 5 guaranteed to get you on your feet and belting out the lyrics. With a range of topics, Dead Rosetta’s songs detail personal insights. Such as ‘Her Grip’, written about a family member of one of the musicians, to hits like ‘Ego’, which take more of a sexual path- outlining getting to know someone in every way possible. Though no songs specifically focus on a single person for the entirety, the themes remain consistent throughout, telling stories through their eyes.
As for upcoming releases, which fans have been eagerly anticipating since the drop of ‘Hide’, (released January 27th, 2023) the wait is almost over! Dead Rosetta’s next music release date will be October 31st- the Halloween of 2023! With little information circling about as to whether it will be a single or an EP, make sure to keep checking their Instagram and Spotify for any extra details! Although, regardless of release dates, when you go to a Dead Rosetta show, usually you pick out a few sounds that aren’t on their spotify.
Anybody who’s been to a couple Dead Rosetta shows can tell that there’s some new songs thrown in the mix that we don’t know the names of. These songs are all in the process of being recorded, named, and apparently renamed? The band shared that they change up the names of their songs a lot, so until a song has a set title, they use fillers of animal names (example being that the interim name for ‘Ego’ was ‘Locusts’). Along with the new music they’ve been creating and adding into their current show lineup, Dead Rosetta shared that they’ll be re-recording and releasing at least two songs from ‘The Wasted’ EP. Without specifying which ones, you’ll have to go to their shows to play detective and see if you can figure out which ones it’ll be!
Dead Rosetta is gaining popularity for a multitude of reasons, and the music is only the beginning of it. Every show that they play, no matter crowd size or energy levels, they give it everything that they have, expressing a genuine love for the sounds they’ve created and the thoughts they have to express through that sound (if not a bit of ego praise as well, as Max humbly added in). And that flows all around them to every person they attract to their following. This is the true embodiment of the Rock, Alt, Punk, and Metal bands from the 80’s and 90’s. With dreams to play venues such as Glastonbury, The Switchfoot Bro-Am, a sold out Wembley stadium, and Coachella, (though it seems Joey may be the only one jonesing for that last stage) we don’t have any doubt that we’ll see Dead Rosetta’s name in lights one day soon.
Enjoyed this article? Search around you to find our closest print zine to read a special article about the band!!
Written By: Mykah Worthington (@inside.reds.head)
Published: 10/03/2023
Twelve Gauge Trixie– Che Cafe Show!
Photography By: Macey Keung (@shutterluvbug)
March 31, 2023 Twelve Gauge Trixie debuted in San Diego (second show) as an up and coming rock inspired group in college town’s favorite venue– the Che Cafe. San Diego in itself loves indie-rock and all things hardcore, but 80s inspired rock with the malaise that devours our local scene in 2023, has been unheard of and lacking until now! I scored an interview with the few after catching their set; their energy was unmatched, their songs were all their own, and their sound was just as unique and badass as the musicians themselves. Here’s some insight on 12GT, who they are, what they do, and what they have going on this summer!
(Interviewer): So first what are all your guys’ names, and how did you guys all connect and kind of get the group started?
(12GT): I’m Paloma I’m the bassist, I’m Violet I’m the singer, I’m Mia I play guitar, I’m Blake I’m the drummer, I’m Art I play guitar.
(Violet): Well I met you (talking to Mia) because I play in another band you know I’m in Mouthguard, and we became close homies because of that. So what about Y’all.
(Art): I met Mia because she came to one of my shows when I was in another band called Randy, and so she came a few times and I connected there with her. And then this foo right here, Blake our drummer, I’ve been playing with him since we were in diapers.
(Interviewer): Awesome, nice! So you guys just kind of already knew each other and formed from there.
(Violet): And then we just hit up Paloma; we thought they looked cool as fuck! (Interviewer): Well awesome it sounds like you guys are all on the same page and really connected as a group. So this next question kind of goes for your first show that you played last week as well in Ocean Beach at Humble Heart, so I wanted to know how you are feeling about that? Are you guys anxious about your performance or excited about all that just happened and is there anything you guys are hoping for for your next gig? Maybe a different venue, crowd-wise, energy-wise, etc.
(Violet): I mean for me, I always get a lot of anxiety before playing a show you know, but I really liked how the past couple of shows have turned out. The only thing I wish for next, and this will be continuous, is more people. More people, more people, all the time. What about you guys?
(Mia): I feel like our first show was kind of interesting, like we were all a little bit nervous, but then we played one last night, and it was actually pretty fucking good. That was like a house party in Lakeside.
(Interviewer): I went to the Humble Heart one as well, and I actually thought that was a pretty big turn-out for that type of gig, but definitely as you progress and get further up on the lineup, there will be more people there for sure, so that’s super cool– and then this is because you guys have a pretty unique sound for San Diego at least something that the scene might not be used to, I mean me and Mia were talking about this you guys do a sort of rock thing and so I wanted to ask what the inspiration was for the music that you guys make, and what you kind of draw from creative wise, you know what your favorite bands are.
(Art): Okay well I’m kind of inspired by like 80s glam metal, so a lot of Motley Crue, Def Leppard, LA Guns, and stuff like that.
(Mia): I’d probably say about the same, and I’d say that Guns n Roses is definitely one of my top favorites.
(Blake): I like a lot of the same stuff as well, and you know I like Thrash metal, and a little bit of old outlaw and folk country.
(Violet): My biggest inspiration to get into the hardcore vocals is Rage Against the Machine. I love their message, I love their vocals… I think they’re sick as fuck.
(Paloma): I’m very influenced by a lot of 70s punk like Buzzcocks, Subhumans, that’s my jam.
(Interviewer): Oh yeah, yeah, that’s super sick. That energy definitely comes through in your guys’ performance. So assuming you guys are in the midst of writing original works and with what you guys played during your set and getting a feel for stylistically what you want to put out into an audience and an EP or just singles how is the writing process like what does that look like— do you all pitch in is it just one person, is there a synergistic and easy flow with everyone working together from the lyricism to putting the riffs and drum beats into play; just tell me a little bit about that.
(Violet): I think the writing process for me at least is like they’ll kind of write some shit and they’ll send me a recording, and then I’ll write lyrics for that.
(Art): Yeah so we just go into the studio, and we play, and we see what we come up with, and that’s literally it. Like our first song we played, I did that right before our first practice ever and I just showed them that and we just kind of build off of things.
(Paloma): Yeah usually one person will start and we’ll all kind of just build off of that.
(Interviewer):Oh man, that's super sick. So this will be my last question because as I said this piece will be pretty short and I know you guys have to get out of here, but I wanted to know what’s in store for you guys next or what you’re hoping to get out of this experience together. I definitely know more shows but Art you were saying hitting the studio so will you guys be dropping music, or are you planning on just playing locally– just kind of tell me about that.
(Art): Well yeah so we’re actually hitting the studio tomorrow, so we’re going to Studio West to record three songs. So we’re doing that and then we have another show coming up, what is it– April 7th? Yeah in OB. And then I think we’re just going to try and get as many shows as we can.
(Interviewer): That’s so awesome I’m so excited for what’s to come! Well that’s it, that’s kind of all I had for you guys unless you had anything you wanted to say or add? It was so nice meeting you all. Shout out Twelve Gauge Trixie! Check em’ out!
(Violet): Keep doing fucking music, regardless of if people think you suck, you know like I don’t know, fuck the bullshit.
(12GT): Fuck the bullshit!
Interviewing 12GT was such a blast and their energy onstage surely transfers to hanging out with them in person. There’s a lot coming for this local SD band and for more information definitely follow their socials!
Written By: Allison Grace (@allieepayne)
Published: 08/22/2023
They Are ANXIOUS!!
Bridging the gaps between mournful melodic hardcore, and eclectic emo, Anxious from Fairfield, Connecticut takes the top for songs to heavy sob or obtrusively scream to. With inspiration drawing from America’s hardcore, and influences like essential emo tracks dating to Blink-182, Anxious cultivates feelings of somber togetherness and stern rebellion.
Currently on tour opening for Prince Daddy & The Hyena + Drug Church, this article will cover the March 17, 2023 showing at Soma in San Diego, California. The sold-out side stage show brought in fans from all across Southern California, and did not disappoint. Playing their top hits from “In April,” “Call From You,” and many others off their recently released album “Little Green House” (Circa 2022), frontman Grady Allen practically read a love letter to all audience members.
Snappy drums with subdued guitar riffs, and an almost dreamcore-esque vocal effect, featuring heart-rending lyrics and scratchy screams, calls for stage-diving and crowd killing all night long. By far some of the best emo sets played at Soma.
Anxious’ lyricism melts ears and binds hearts for the full 32 minutes and 9 seconds of their 2022 album release, and more of the same can be found in singles and previous LPs on any streaming platform. The show was wild, the music even more primitive, and in my opinion, oh so worth it.
Check them out @wereanxious on Instagram for upcoming tour and show information, and stream their discography on all streaming platforms for a quick heart-check.
Written By: Allison Grace (@allieepayne)
Published: 8/19/2023
Hardcore Is For The Girls!!
Kat Moss represents all that is feminine and divine; She’s also the gnarliest front-woman for her hardcore punk band known as “Scowl.” With their latest music video and single “Shot Down” (dropped March 1, 2023), and “Opening Night” dropping just weeks prior, Scowl has taken off and is launching their career promoting bad-ass femininity in the hardcore scene!
Opening alongside rapper Tripp Jones, and HXC bands Zulu and Jesus Piece, for Show Me The Body’s West Coast Tour, Scowl has fans and new-listeners lining up outside sold out venues, and packed into four-door suburbans driving hours to see their gigs. This article will cover the February 28th, 2023 showing at The Observatory in Santa Ana, California.
Their set started off strong with their hit single “Opening Night,” and the crowd never knew killing like this before. Incandescent sing-songy vocals with catchy and upbeat drum beats followed with a sharp in tone guitar lick, curated a sick sound unique to most punk shows. All their top picks were played and looking around the shady space everyone was enjoying themselves along with the music Scowl was putting out.
Scowl’s stage presence was incredible too– Kat was captivating everyone in the room; her aura engaged listeners and made for the most alluring set! Her fellow bandmates killed the performance too, knocking back beats and hitting the kick like it was a part of him, the drummer, Cole Gilbert, introduced us to a synergy in music we’ve never heard of. The guitarist (Malachi Greene) and bass player (Bailey Lupo) also entranced listeners as if it was a Jeff Buckley private serenade.
The hardcore scene, at least in Southern California, is home and plays host to a multitude of the West Coast’s best hardcore punk music, but Scowl has introduced us to a new range in that sound that’s upbeat, has a little room for dancing, but still allows listeners to partake in any shape of a Wall of Death. This band is high on the rise, and I for one am excited to see the forthcomings of their future and what great things are in store for them following this breakthrough in the scene.
Check out Scowl’s instagram @Scowl40831 for upcoming tour and show information, and stream their music on all platforms for some staggering sounds!
Written By: Allison Grace (@allieepayne)
Published: 8/19/2023
A Pit Stop With Kelpbeds Cont…
Kelpbeds are a band originating from San Diego, California- using mixes of garage rock, jazz, and synth wave to create an ethereal blend of Funk Rock. (Honorable mention to them trying to classify themselves in the genre of 1700’s sea shanties as well). Born from the dreams of guitarist Jack and lead singer Peter, they both recalled finding a love for music together and eventually beginning to create their own music. Starting in early 2020, going through many name changes and adding members throughout the years, Kelpbeds finally feels complete with bassist Megan Beasley- also on alto saxophone, synth player Luke Johnson, drummer Wiki Alva, guitarist Jack Andolina, and lead vocalist Peter Semenza- also on guitar.
After only having had one practice together before going into the Covid lockdown, the members started to feel a little stuck in the isolation cycle of work. Using music as an outlet, Kelpbeds continued to create songs, leading to their first EP ‘The Groves by the Graves’. Recorded on a laptop in a living room, this EP has five songs including ‘The Groves by the Grave’, ‘Spider Webs’, ‘The Curse’, ‘Reasons’, and ‘Wonder’. Though this wasn’t the first release, (their first being ‘Wonder’, originally released as a single on March 27th of 2021, later being added onto the EP) it certainly put them on the radar of a lot of music fans, expanding beyond the scope of San Diego.
With two completed EP’s out on Spotify, Kelpbeds shows no sign of slowing down, recently recording a new album on March 31st, 2023. At Amplified Studios in Carlsbad, the band played 8 songs for a live audience. This album consists of some favorites and a couple of new tunes to go on your radar, such as “Give It Away” and “Let’s Go”. Release is set for next year, so keep your ears open for updates and make sure to mark your calendars!
Still screaming for new Kelpbeds music before 2024? Well hold your breath and get ready to belt- Kelpbeds recorded a new album in San Diego on July 23, 2023 with 8 tracks, including some of their newest songs from the live album. With plans to release before the end of the current 2023 year, and this being the first full album with all 5 members make sure to keep your eyes glued to their Instagram and Spotify!
We’re also lucky enough to have gotten an inside scoop on the recording process behind their latest EP “Kelp Lounge’. The members went all out, renting an AirBnB in Joshua Tree for a couple days to spend time together while they recorded their next 6 songs to be released. As Kelpbeds have been accumulating fans and buzz all over Southern California, this EP was released into welcoming if not screaming arms and hearts across the board. With fan favorites such as ‘Years and Years’ and ‘Apocalyptic Love’ Kelpbeds have become a local show goers favorite band, and a name you’ll see regularly on flyers around the coast!
Written by: Mykah Worthington (@inside.reds.head)
Published: 08/04/2023
Enjoyed this interview? Wait till you’ve read the special edition Kelpbeds article we did, giving more in depth introductions to the band, in our magazine. Find the closest issue near you!
An Afternoon with Strawberry Fuzz
What do bands Red Hot Chili Peppers, the Black Eyed Peas, the Byrds, and the Beach Boys all have in common besides incredible music? A shared birthplace.
The city of Los Angeles has long been helmed as a mecca for musicians, both native and transplant. When examining Los Angeles’s rich musical history, it may seem as though the city provides rather large shoes to fill for young hopefuls. Luckily for us, up-and-coming band Strawberry Fuzz (or, as drummer Andy calls them, “the Fuzz) is up for the challenge. The Venice-based group, which consists of Alex Arias (guitar/keys), Colby Rodgers (vox), Dashel Dupuy (bass), Kris Miller (guitar), and Andy Warren (drums), spoke with Rambler! Magazine in an exclusive interview in preparation for their debut release, Wasting My Time.
When asked to describe the band in three words, their answer was “garage surf punk.” While rather simple, there may be no three better words to describe a group that has come into their own making beats in a, quite literal, garage on the beach. The band owes their creation to a happenstance backyard rager a friend asked them to play at. Colby and Alex, who lived a block away from each other and were the first to connect and begin playing together, said Strawberry Fuzz’s inception was a speedy one.
“We got asked to play a friend's backyard rager, and quickly tried to throw a band together. Kris had heard some demos at a friends house and wanted in. From there he brought in Dash on bass and Alex brought in Andy to drum and we were good to go.”
While the band frequently plays in their hometown on the West Side, Strawberry Fuzz is no stranger to the rest of the city of Angels. In the past year, the band has played shows at the Redwood Bar, The Echo, and Bardot, among others. The band’s familiarity with the city is evident not only in their venue selection but in their music as well. Their song “East of the 405” off their brand new 3-track teaser jokes about the band’s friends refusing to leave the West Side (a genre of person all too familiar to native Angelinos). Even when not singing directly about the city, that classic Los Angeles sound that has been refined for decades by rock greats is a highlight of the band’s music.
For guitarist Alex, music isn’t just a city industry, but a family one as well. Alex, whose younger sister Etta plays guitar and does vocals for the band Momma, spoke about his experience with music as the family business.
“As the older brother, I know my work musically got to her at a young age and her new explosion onto the scene has also help shape this band a lot for me. It’s great to have given each other inspiration at different points in our lives.”
And it seems like Strawberry Fuzz is gearing up for an explosion of theirs. Just a week before their debut EP, the group headlined Bottom of the Hill in San Fransisco, a historical venue that has featured the likes of Bright Eyes, Elliott Smith, Beastie Boys, the Flaming Lips, and many more. But the boys bear this massive accomplishment with humility, describing the experience as “really rad” (lingo fitting for a Venice-based band).
Perhaps the band already knows that their early performances at iconic venues will one day only be footnotes in their musical journey, one that both the boys and I are excited to bear witness to. Still, it seems unlikely that the members of Strawberry Fuzz are driven by their inevitable success in the rock scene. In their own words, “We’re pumped to see where this music will take us next.”
If you, too, are interested in seeing where Strawberry Fuzz’s music will take them, be sure to follow them on Instagram, Twitter, and Facebook.
Strawberry Fuzz’s debut 3-track teaser, Wasting My Time, is now available today, 11/23.
FOXTIDE INTERVIEW
Following the release of their debut EP, Blind, in January of 2019, Foxtide has gained notoriety for their unique jazzy style and impressive skill. Fans flock to their shows all across southern California to witness the musical talent of Elijah on vocals and guitar, Orion on bass, and Ethan on drums. In this hour long interview with Foxtide, Joe and I discuss the origins and motivations of the three piece band taking the San Diego local scene by storm.
Kisi: Elijah told me that you guys have been jamming for about two years, so I was curious to hear how you guys got together as a band and how you know each other.
Elijah: From the beginning...I’ve know Ethan since he was in preschool, we used to be really good buds. Then we met again in highschool, it must have been sophomore year.
Ethan: So it was about a full decade later that we met again.
Elijah: We all met in the beginning through School of Rock. We were playing with another drummer and that didn’t really work out, and then we found Ethan!
Kisi: So you met at School of Rock..what’s that?
Orion: It’s a music program, but the way they do it is a little different. It’s not somewhere that you just go and take music lessons and learn one instrument...
Elijah: It’s interactive.
Orion: Their whole shtick is that they have these programs where they take these students who all play different instruments and put them together.
Joe: So they make you into a band basically?
Orion: Kind of...they separate you into groups and each group has a theme. Like for example you might have a group with a Led Zeppelin theme. Everyone learns the same songs on different instruments and at the end you perform together. So you're learning how to play with a band and learning an instrument.
Kisi: That’s awesome! So were you all grouped together? What was the transition from School of Rock to formal band?
Elijah: Me and Orion knew each other through a couple of shows and at the time I was in eighth grade and Orion was a freshman, so we weren’t really serious about anything. We just liked jamming. Then the first real show we got together was a progressive rock show, it was kinda harder music and you could start to tell who was more about it. Some kids wouldn’t learn their songs or would forget their songs, but these two dudes would learn their stuff and I was like damn, they can play.
Orion: So you chose us?
(Laughter)
Elijah: Well, Orion and I were working on some stuff with our previous drummer, but I’d say that when Ethan joined, it was like night and day.
Orion: Everything completely changed. We used to play generic ass classic rock, and it was really corny. I don’t think anyone really liked it besides us.
Ethan: You guys both came up through School of Rock, but for the period I had been drumming I spent very little time actually at School of Rock. I had my own different way of playing, so when I joined the band that’s probably what changed it a little bit. I drummed a little faster…
Orion: Well Ethan listens to like, punk.
Kisi: So the technical skill was a bit different?
All: Yeah.
Orion: Ethan listens to Blink-182 and bands like that. People shit on those bands all the time but the drumming is demanding. If you can get your stamina up to that level, then you're pretty much set. Ethan was already rippin’ those songs out, so when we had to tone it down or learn other styles, he picks it up so fast because it’s all already there.
Elijah: Yeah, we all kinda met up through different styles but we still had stuff in common; we all love to jam.
Kisi: So how was the process going from creating the band, playing with each other, and then to releasing an EP?
Elijah: I remember it was around the beginning of summer, we had just played a progressive rock show, then we moved to Rush, and we started to play more on our own and not so much at School of Rock. At first we just did Rush covers (laughter), and that was kind of the binding thing for us, we all could play Rush. I’d say right as we started writing our own stuff we just thought we had to share it, ya know? We were playing a lot of shows over the summer, after the School of Rock shows.
Orion: In School of Rock they also have a songwriting theme, so instead of a certain band or genre being the theme all the kids in that group write music together. After the progressive rock show we knew we could play well together, but it was writing the songs ourselves, working together in that different way that helped us become a better band.
Kisi: Yeah, that’s a really different dynamic than just learning covers.
Orion: One thing that made us more serious was definitely the songwriting. You can learn all the Rush songs you want, whatever, but once you actually have to take your ideas and put them together and work with other people, things change.
Ethan: It’s more fulfilling. It’s a different feeling than just learning a song.
Orion: Because you can do that with anyone.
Ethan: When you create something that is your own, and you really dig it, it gives you a way cooler feeling than covering a song.
Elijah: At School of Rock they made us practice at least once a week on songwriting and they'd also tell you to practice at home too, so I’d come in with a riff, we’d expand on it, and it would snowball from there.
Joe: So it’s very collaborative.
Elijah: That definitely stoked the fire for our tendencies to write.
Orion: Yeah, like a lot of the songs on our EP we’d been playing for at least a year before the EP even came out. But recording them and getting them out is a lot different.
Kisi: How was it releasing your EP? What was that experience?
Ethan: Some of it we got done fairly quickly, like the instrumentals. We could have got them done faster…(laughter)
Orion: There we so many recordings of the songs on the EP that were done in different places, but we were never really happy with how it sounded.
Elijah: We didn’t stop until we were confident with the sound we got. We got recording from Lestat’s, and we actually recorded a fifth song but the sound engineer messed it up and there was a big glitch in the music, so that’s why we released four songs! I’d say the longest part was me having to go out and buy the microphone, the headset, the audio interface. I had to save up the money to get all that stuff. Then I spent a ton of time researching and looking up Youtube videos, learning how to record vocals and learning how to mix the songs.
Kisi: So it was very much a do it yourself process?
Elijah: Yeah.
Ethan: It was kinda a good thing and a bad thing because it just took so much time.
Kisi: But you also get more autonomy over your own music and you can make it sound exactly how you want.
Ethan: Exactly, I think we were pretty happy with the end result because we were part of every step.
Elijah: Yeah, like when you're listening to our music you’re hearing all the hard work we all put into it, literally me in my room for hours fixing some glitch or something like that. But in the end I think we were all really happy with it.
All: Yeah.
Joe: So for any upcoming music, do you think you’ll go through that process again or was it a one time thing for the release of the EP?
Elijah: Honestly, I don’t know. I think a happy medium would be good.
Orion: Personally I hate recording. Like when you see us play our songs up on stage, it’s not like we can just go into a studio and do the same thing and then release it. It was so tedious! There is a lot of little things that you don’t think about when you’re just listening to the music. For example, for Elijah it’s recording the perfect vocal take. You can’t just hit that, it has to be perfect. And even if it’s good, you’re always gonna think it could be better.
Joe: How many times do you think it takes?
Elijah: Vocal wise...at least a hundred. Cause what I do is record the whole thing, do it a fuck ton of times, and then take little pieces that I like.
Kisi: It seems like the band takes up a lot of your time, at least from what you’ve told me, and you guys have been playing more shows recently following the release of your EP. How do you balance that with being a high school student?
Elijah: Oh, I love music way more!
Ethan: Yeah, it’s definitely more important to me.
Kisi: So you all agree music is more important to you?
All: Yeah.
Kisi: So how do you guys feel about school in general?
Elijah: Honestly, the first half of junior year was one of the most stressful times of my life because I was taking five challenging classes and also recording the EP. I was pushing myself way too hard, just constantly grinding on my homework and then immediately working on the EP. I never went out. That was my whole life.
Joe: So..in a band, chicks?
All: (Laughter)
Orion: Nah..
Kisi: Maybe when you guys get a little bigger?
Ethan: Actually, you’d be surprised..
Kisi: Oh!
Ethan: It’s kinda weird actually. Like we’re a local band but sometimes people treat us like we’re famous.
Kisi: Well, you guys do have a really dedicated fan base. I feel like that’s what sets you guys apart from a lot of the other local bands. I mean everyone at your shows knows the lyrics to all your songs! People are screaming along! What does that feel like?
Elijah: We had never experienced that before the EP and honestly it’s amazing. I was kinda shocked the first few times it happened.
Orion: Yeah, I mean the fans keep us going.
Ethan: Definitely. We got used to it just being our friends knowing the lyrics and then suddenly it became random people!
Orion: We played a house show a week or two ago and we were all kinda sick. Elijah’s voice wasn’t great so he tried to avoid singing as much as possible. He actually lost his voice after the show. But during Honeybee it was like we didn’t even have to sing. The fucking crowd did it for us!
Elijah: I love being in a local band because you can talk to everyone who likes your music.
Joe: How long has the EP been out?
Elijah: I think four months.
Orion: No way it’s only four months...oh shit!
Elijah: Yeah, but we had been playing shows and stuff for at least a year before we released the EP.
Kisi: It seems like you guys have really blown up since the EP came out. You’ve been playing a ton of shows and have a ton more planned for the summer.
Ethan: It’s all felt really quick, way more than I expected. Because the EP only came out a few months ago and we’ve only been playing shows for a year, which is a lot less than some other bands.
Orion: Yeah, I know some bands that have been playing house shows for 5 years.
Joe: So what’s in the works?
Elijah: That’s a great question..we’ve been trying to figure out a good way to get our music out there and get it to more people. I love releasing music and if I could I would release everything nonstop. But we need to grow our fanbase in order to have that demand. We waited a whole year to release the songs for our EP and that’s because during the year we were playing the songs at shows so people started to recognize them.
Ethan: Yeah, people would always ask us when we were gonna finally release them.
Elijah: Exactly, so we already had listeners lined up.
Joe: So there has to be a demand.
All: Yeah.
Kisi: Well now you guys are having to look at it from a marketing side, and it has to be more strategic compared to when you guys were just jamming out a year ago.
Elijah: Yeah. It’s definitely the less fun part about making music. Like I just recently spent 80 bucks on trying to promote our music that’s already out. It’s basically just submitting to a bunch of playlists and blogs, and out of the 50 or 60 playlists and blogs I submitted to, we only got one. It’s actually the True Detective soundtrack playlist!
All: (Laughter)
Orion: Yeah, I don’t know if Honeybee has more plays because it’s on that playlist or because people actually like it.
Kisi: I’d say it’s probably both! Speaking of which, what was the inspiration for your song Honeybee?
Elijah: If you listen to the lyrics, it’s kinda about rejection but also denial..like for example say you have a friend who’s significant other you are into. It’s your homie’s girl, so there’s nothing you can do. But you also want to be with her! So it’s kinda about that. It’s a happy sounding song but there’s also this attitude that comes across.
Joe: Do you try to fit the lyrics with the vibe of the song or do you just let it flow?
Elijah: For Honeybee I wrote the melody and chords first, and I wanted to keep people guessing so I made it more about a feeling than anything else. Then I wrote the lyrics and the riff, then Orion and Ethan came in with ideas about the dynamics and how to make it better.
Joe: It is usually melody first before lyrics?
All: Yeah.
Elijah: I’m always humming shit out and kinda thinking about lyrics.
Orion: Honestly we write most of our songs that way.
Kisi: It’s interesting to see how intentionally collaborative you guys are not only with your songwriting but also as a whole, tracing it back to the School of Rock teaching you guys how to play with a band.
Elijah: We also all play each other’s intrustuments, at least mediocre.
Orion: Elijah and I used to have drum battles! (Laughter)
Joe: That’s really interesting.
Elijah: Yeah, so like I can bring stuff to them and they can critique and suggest changes to parts they don't even play.
Kisi: It makes more sense to me now, why you guys play so well together, because you all have a deeper understanding of each other’s instruments and that helps in the collaborative process of songwriting and playing together.
All: Yeah.
Kisi: So for my last question, where did the name Foxtide come from?
Elijah: Honestly I wish the story was more interesting. During our School of Rock days, we were playing this show and two of the songs that we had written were named Desert Tide and Fox Hole. I just put them together and thought Foxtide sounded cool.