Run the Gamut

Dance Gavin Dance, whose quirky and genre-defying sound fits somewhere between post-hardcore, progressive rock and screamo, isn’t worried that fans might not like their new album. Right now, they’re just pumped that they’ve found their groove, both creatively and within the band’s dynamic itself.

Since the band’s formation in Sacramento in 2005, DGD has gone through its share of rough patches. Despite a constant flux in band members, DGD now has a solid group of core members with a shared goal: making music they love, and being open to whatever form that comes in. Today, DGD consists of Tilian Pearson (vocals), Jon Mess (vocals/screams), Will Swan (guitar/vocals), Tim Feerick (bass) and Matt Mingus (drums).

Their sixth studio album, Instant Gratification, showcases the energy, enthusiasm and eclectic influences that hooked fans from day one—with a good dose of sarcasm and some dirty rapping sprinkled throughout. The album blends elements from throughout their many eras, offering a little something for everybody—although pleasing such a diverse and divided fan base will be a difficult feat. It is slated for release through Rise Records on April 14, 2015, which is also the day they kick off their Instant Gratification Tour. Leading up to their big record release show, DGD is currently touring with Memphis May Fire, Crown the Empire and Palisades on the Take Action Tour, which wraps up in the beginning of April.

Submerge caught up with Tilian and Will at Kupros Craft House in Sacramento to chat about their upcoming album and tour, as well as what fans can expect to hear on their newest compilation.

What are you most excited about on the new album?
Will Swan: I really like the rap I laid down on it…it’s really sarcastic and dirty and messed up, but it’s funny in the DGD rap style that I created for myself.

You created a new persona for yourself?
WS: Every time I do a rap it’s from a new persona or perspective that’s not mine.

How would you describe this one?
WS: The song is kind of about being drunk and messed up, just a crazy night. My rap is from the “douchebag misogynist in the club” perspective.

What about you, Tilian? What are you excited about?
Tilian Pearson: It wasn’t necessarily as stressful as the last one, but there was more work involved. It’s definitely my favorite album that I’ve ever been a part of making.

Tell me about the writing and recording process on this one. It probably wasn’t actually “instant.”
WS: It was pretty instant…I don’t like to spend more than a day in practice getting the song down. I’ll usually come to practice with the skeleton and the parts and know what I want to do and then teach everyone and flush it out with Matt and Tim and by the end of the practice it’s done. And I don’t like revisiting my own shit.

How long do you think the whole process took?
WS: We didn’t spend more than a day on each song, so with all the practices together it was like 11 days.
TP: But that’s instrumentally.
WS: Once the music is down it goes to Tilian and Jon and they do their thing.
TP: The vocals take a little bit more time…the producer had a nice big backyard and it was raining the majority of the time. I could kind of pace around in the rain, listen to the stuff, and figure it out.

So all the instrumentals are ready and you’re just listening to it and writing over it?
TP: All the instrumentals are written first to a point where I think they’d be cool songs as-is and you would be able to just listen to the album as instrumentals and enjoy it. I feel like the vocals on this one—and I don’t think it was meant to be this way—wind up being more important than some of the past DGD stuff.
WS: Whatever it was instrumentally, once the vocals got put on it, the songs sounded completely different. It was like I was hearing it again for the first time. This record I felt even more of a transformation than usual from instrumental to vocals.

How have you guys managed to keep the same sound enough to keep a steady fan base when you’ve had, what, eight past members now?
WS: I have a very particular sound, and it comes out in what I write, and Matt has a very particular drumming style, and when he puts his drums to my guitar it makes a DGD sound. Everybody else adds their flavors too but the core of the song writing, of the instrumentals, still has that same sound and progression.

I’ve seen a lot of words used to describe your sound…hardcore, jazzy, progressive rock…how do you guys like being described?
WS: I don’t like having to confine things to genres…I have so many influences and listen to so much different music and like to try and put tidbits of it all into the songs. So of course it kind of has a heavier tinge to it but there’s all kinds of stuff going on.
TP: It also depends who you are talking to. If I’m talking to someone 60 years old, I’ll just say it’s punk rock. If I’m talking to a teenager, I’ll say it’s post-hardcore, funky, with a little bit of screamo influences.
WS: And if I’m talking to one of my religious aunts, it’s devil music.

What do you think the fans will think of the new album?
WS: I feel like this album covers the most ground. It’s got probably the heaviest song we ever did, called “Shark Dad,” and some of the softest stuff, like “Death of the Strawberry,” and “Legend,” one of the catchiest songs we have ever done, and also the heavy, spook-style, epic screamo stuff. It goes all over the place in a way that none of our other records ever have.

Do you have very specific fan groups?
WS: There are definitely cliques. But as much shit as they talk, they’ll still like the new stuff…they’ll say things like, “this just doesn’t sound like my favorite album. But I’m still probably going to pre-order it.”
TP: It’s interesting when people say, “I miss a certain album. Don’t you have it? Can’t you play it?”

Are people hard to please, just in general?
WS: I don’t think too much about pleasing the people as much as I do utilizing the people in the band to make the best album we can.

What would you like to see as the next evolution of the band?
WS: We’re still waiting for this album to come out to see what people think of what we just did.

But you said you don’t care what they think anyway, right?
TP: I want to hear it, and read it, and be like, I don’t care.
WS: It’s like comedy for me. I’ll go through and just see some of the mean things people say and it’s so shocking it’s almost like hearing a joke.
TP: Like when people actually speak to you directly on Twitter, or write a message like, I hope you actually choke on your food tomorrow and die, because you’ve ruined my favorite band. [Laughs]

What is one thing you think your fans don’t know about the band?
WS: I would like to be in the Illuminati, and if any fans have any connections that could get me in…
TP: When we play live, I don’t actually sing. I’m actually only here for my looks. So I’m basically a pretty boy lip syncher for the band.

Sacramento fans can catch Dance Gavin Dance on April 3 and 4, 2015, at their back-to-back shows at the Boardwalk, with guests Hail The Sun and other local openers (all ages, $17). Visit Theboardwalkpresents.com for tickets. Find out more Facebook.com/DanceGavinDance, or follow them on Twitter: @DGDtheband

For Jon Mess, Music and Art Share a Similar Rhythm

Artist Jon Mess might be the only human example of going from zero to 60 and back in 3.5 seconds. One second he is thrashing paint on a canvas with quick and forceful strokes; the next he is stopping and staring intently at the chaos before him. He likes to start off a painting at a very fast pace but then slows down to analyze each stroke. At times he will stare at his work for more than 30 minutes.

For the past 10 years, Mess has experimented with various art forms including painting, graphic design, writing song lyrics even perfecting screamed vocals. His causal demeanor and laid-back personality make it seem surprising that his well-known talent is screaming lyrics in front of raving fans. He has been in the spotlight as a vocalist for Sacramento’s post-hardcore band, Dance Gavin Dance, but has been under the radar as a talented local artist. Each creative side of him represents the perfection of organized chaos; that can be heard in the vocals and seen in his art.

“I try and create a sort of rhythm with the strokes…like the way that music or notes would go up and down on a scale,” Mess said while sitting on a bench outside of his art studio. “I like the element of just going at it and moving real fast but at the same time I want to have balance and stability and take into account [the] formal element of art.”

His abstract artwork is full of bright colors and sharp strokes that leave no empty space on the canvas. Each piece of art is completely open to interpretation and everyone will have a different opinion on what the image is or what it means to them. It’s a “choose your own adventure” art show, Mess said. One minute you might see a rabid zombie dog but after a close examination you might see two eerie dark figures appear in the painting.

Horse, Oil on canvas 30’’ x 40’’ 2012

To get started on a painting, Mess lets his natural intuition and spontaneous side work together. “That’s one of the main things about my process is that I don’t work from an image or I don’t usually work from an idea,” Mess explained. “I put a mark on the canvas, then another one and then it starts to look like something.”

But if Mess does have a sporadic thought in his head it normally comes out as a painting, a lyric or sometimes both. From the most recent Dance Gavin Dance album, a song titled “The Robot with Human Hair Part 2 ½” contains three words that seemed to cause a small uproar with some of his fans.

“There is this one lyric that is ‘confusing ice cream cone.’ People were always misinterpreting or are confused as why the lyrics weren’t cohesive, just scatterbrained. Well, my lyrics are confusing ice cream cones,” he said. “Then I painted a big ice cream cone with a big question mark.

If it works, it fits in the song and fits on the canvas, why do I need more meaning than that? Why can’t I just paint anything?”

Having a creative process isn’t new in his family; in fact his artistic talent could prove that the creative gene might be a dominant one. Growing up he watched his mom sculpt clay vessels and “curvy vases”; he worked for his uncle, a veteran artist who builds massive metal creations; he is related to one of the animators of the legendary cartoon show The Simpsons; and his cousin works for the art department at UCLA.

“Why is everyone an artist? This must be genetic,” Mess said about his artistic family history. “My mom always had a studio attached to the house with kilns, a potter’s wheel, clay and paints. I learned and did sculptor clay when I was a lot younger and I starting painting when I was 16.”

Since then, he has completed many paintings that he is ready to share with the Sacramento community. Starting on April 14 the FE Gallery will display some of his work for his fans and art enthusiasts to enjoy. He is excited to move all of his artwork from his current studio (that he shares with other local artists in downtown Sacramento) and formally hang it in an official art gallery.

CominUp, Oil on canvas 30’’ x 40’’ 2011

The final product of the art show will have a completely different vibe than Mess’ current workspace. At first glance his art studio resembles an abandoned warehouse, but after walking inside and smelling the paint fumes, anyone could sense the hard work that surrounds the studio. The crowded building is divided into multiple messy workstations, and it’s hard to tell where one art station begins and where the other one ends.

But this environment is a recent upgrade from working at home in his apartment. “I was getting paint on the carpet, the walls, my hands, bathroom and my cat. [It] would get on him and he would track it around,” Mess said. “So out of necessity I had to move it all out. It’s been really nice.”

His upcoming show will be his first official gallery show, apart from college galleries at Sacramento State. While attending college, Mess studied electronic art and started to feel out his interest in post hardcore metal music. This slight interest and curiosity led him to become a famous hardcore screamer, a skill that he happened to pick up randomly.

“I didn’t know what I was doing at all at first and there was no real guidebook,” he said. “I asked a vocal coach at Sac State and they were like, ‘You are going to destroy your voice. You can’t do this. You’ll have no career.’”

If Mess had believed the unfaithful coach, he wouldn’t have toured with Dance Gavin Dance across the United States, and he wouldn’t have been called a “resident screamer” by Alternative Press. After being told he would have no career in screaming, Mess ended up headlining Sacramento State with his band almost right after his graduation date. But in terms of his future career, Mess is a little unsure of where his art will take him. He is going to “play it by ear” but doesn’t plan on slowing down anytime soon.

“I’m trying to stay within the creative field but in terms of what specific path it’s going to take,” Mess said. “I know that I can always just paint forever.”

Washing, Oil on canvas 30’’ x 40’’ 2011

Check out the works of Jon Mess at FE Gallery. The exhibition will run through May 3, 2012. The gallery is located at 1100 65th Street, Sacramento and can be found online at http://www.fegallery.com/. If you’d like to see more of Mess’ artwork, go to http://jondmess.tumblr.com/.

A Lot Like Birds Readies The Release of Conversation Piece

It’s a quiet Tuesday night in Midtown and local progressive/post-hardcore band A Lot Like Birds has 80 or so fans packed into Luigi’s Fungarden as they tear through songs off their upcoming Doghouse Records full-length debut Conversation Piece, set for release on Oct. 11, 2011. Songs like “Think Dirty Out Loud” and “Sesame Street Is No Place for Me,” the album’s first two singles, have the crowd feverishly swaying back and forth to their spastic and energetic rhythms and riffs. Co-vocalists Cory Lockwood and Kurt Travis bounce around the small stage, shaking their long locks, taking turns singing and screaming, fully taking advantage of having co-vocalists (think call and response, harmonizing, layering, etc).

“I’m not the singer and he’s not the screamer,” Travis makes known as the two vocalists and I share a pitcher of Pabst Blue Ribbon at a local watering hole the Friday following the show. It quickly becomes apparent that this is an important point for them to get across. “We’re both vocalists,” he says. “I scream and I sing. And he screams and he sings. And we yell and we talk and we do spoken word. We do everything, we do all of it.”

Lockwood agrees and thinks of it like this, “I feel like a lot of times with dual vocalist bands that have a singer and a screamer, you’re diverging your fans and you’re going to have people that go, ‘Well I listen to the singing,’ and then you’ve got the guys who want tough music and they’re like, ‘Well I like the screaming.’ So if you bleed both of them, you’re forcing people to like it as a whole.”

Couple the outrageous and entertaining vocal work from Travis and Lockwood with the equally impressive instrumental work of the rest of the band, which consists of guitarists Michael Franzino and Ben Wiacek, bassist Michael Littlefield and drummer Joe Arrington, and you’ve got yourself one interesting record in Conversation Piece. One that crosses genres, tears down boundaries, leaves the listener wondering, “What’s next?” after each track comes to a dramatic close, and one that will most likely take a few listens to grow on you. They are aware of this.

“I know that music like this has to grow on people. People are really slow at picking stuff like this up,” says Travis.

“It’s almost easier for us to do weirder stuff,” Lockwood admits.

And weird it is, although we’re not talking about an un-listenable type of weird here; this isn’t just random noise after all. We’re talking about calculated time signature changes, non-traditional song structures, heavy-hitting breakdowns mixed with luscious reverb and delay-ridden clean parts, impressive and off-the-wall guitar riffs and interesting lyrical content to boot. Take the following lines from “Think Dirty Out Loud” for example, where Lockwood screams, “I spiked both our drinks with a gallon of ink / Now I’m writing a novel from your insides / We’re a spider with our limbs doing anything but walking / A conversation with our mouths doing anything but talking.” Or where Travis sings, “I eat emotional wrecks / And yours is the best.”

“I remember the instance in which we started writing the lyrics,” Travis says of the song. “I was totally enjoying myself, just laughing to myself, just thinking I’m the most clever fucking person ever.”

It is noteworthy to point out that in a number of ways, Conversation Piece is entirely different than A Lot Like Birds’ last offering, 2009’s Plan B. The latter was largely the work of guitarist and songwriting catalyst (as well as the band’s original vocalist) Michael Franzino, who invited a horde of local musicians to play everything from trumpet and trombone to cello and violin on the record. Plan B didn’t even feature a live drummer, as Franzino programmed the drums himself via computer. Conversation Piece is much more of a collaborative effort and consists of mostly the band’s core instruments (guitar, bass, drums, vocals), although it does contain some programmed stuff (“A Satire of a Satire of a Satire is Tiring”) and a little bit of horns (“Vanity’s Fair”) as to not depart completely from the band’s tendency to blend live instrumentation with orchestral and programmed elements. One of the most obvious differences between the two records is the solidified lineup, which includes the recent addition of Travis, who up until this summer had spent the last couple years co-fronting another Sacramento-based post-hardcore band, Dance Gavin Dance. “There’s four new members,” Lockwood says of the post-Plan B lineup. Travis interjects, “I’m not the new guy, you know what I mean? I’m the newest by all means. But Plan B was pretty much one or two guys, now this record is everybody giving their opinions and whatnot.”

For the recording of Conversation Piece, A Lot Like Birds turned to Portland, Ore.-based producer/engineer Kris Crummett, a familiar face to Travis, they have recorded two DGD albums together (2008’s self-titled record and 2009’s Happiness).

“As soon as I got kicked out of Dance Gavin Dance, Kris hit me up and was like, ‘Let me know what you’re doing, whatever you do, just let me know,’” Travis remembers. “It was kind of interesting because when I joined A Lot Like Birds, they were already talking about and thinking about going with Kris Crummett. I love that guy, we have a good history; we have a good thing going on.”

The band worked rigorously with Crummett for three weeks, focusing all of their creative energy on the record, which wasn’t even necessarily completely written yet, as Travis and Lockwood both had a fair share of lyrical work to do while in the studio.

“Everybody was hella trippin’, but that’s kind of how I like to work anyways,” Travis says of the high-pressure situation to complete basically half an album’s worth of lyrics on the fly. In the end, things worked out beautifully for the two vocalists, who found themselves locked in a room with Crummett for hours on end, pounding out vocal ideas together.

“I don’t think either of us had any idea how well we were going to work with each other,” Lockwood says of co-writing. “I’ve never worked with another vocalist before.” Travis pointed out that because the group was away from the everyday distractions that come with being home, they were able to channel everything they had into the record. “When you’re in your home town and you have all your stuff, you know, you have your job that you go to, you’ve got your girlfriend, you’ve got your parents and all this stuff. Sometimes it’s distracting,” Travis says. “I hella missed that when I was a full-time touring musician. You kind of just focus on music. So when I got to Portland, I was just kind of like, ‘Ah, I don’t have to think about anything other than just this record,’ and it got all of our attention.”

Even still, the band didn’t finish everything they needed to in their allotted time with Crummett, and they had to record one song in Sacramento with friend and sound engineer Chris Miller. Crummett was still producing even from hundreds of miles away, though, as the band Skyped him during the sessions with Miller.

“He was still there like being able to hear the takes,” Travis says with a chuckle at the thought of Crummett’s face on a computer screen in the room for hours on end.

“He was just like eating Chinese food and shit,” Lockwood says through a laugh while air shoveling a bite of imaginary food into his mouth.

After three weeks spent in Portland with Crummett and a couple more days’ worth of sessions with Miller in Sacramento, the record was finally done, or so Travis thought. “Knowing my luck, we do like two days with Chris and then we get everything done and we’re like, ‘Yes! Fuck yes, it’s done,’” Travis says. “And then I get a call from my guitar player and he’s like, ‘You’ve got to come back and do some more stuff,’ and I was just like, ‘Dude, when is this going to end? We’re not even in Portland anymore.’ But it was completely worth it and the song came out way better than I even thought it could.”

In between the Portland and Sacramento recording sessions, A Lot Like Birds even found time to embark on a week-and-a-half long West Coast tour. It proved a good opportunity to work out the brand new material in the live setting and to gauge people’s reactions to it as well. “It was really like a testing the waters sort of thing,” Travis says. “To see who gives a shit right from the get-go. It was a good response!”

Lockwood recalls one particular night in Anaheim when a girl came up to him at the merch table after the show and told him that she hadn’t heard music like theirs in years, since the early ‘00s. “That’s definitely when I started playing music, that’s when we both started getting really into it. So if anything, if we draw comparisons to stuff from back then, that’s all I’d love to hear.”

Unfortunately for A Lot Like Birds, references to the sounds of the early ‘00s aren’t the only comparisons they’re receiving, as a large number of people (mostly via the Internet) are saying they sound too much like Dance Gavin Dance. No doubt there will be comparisons: both bands are from Sacramento, both have two singers, both have ripping guitar players and rock-solid rhythm sections; heck, they even recorded with the same producer, so yeah, sonically speaking there are some similarities too. But what’s funniest to Travis and Lockwood about the whole situation is that these quick judgments are coming from the album’s two singles, because those are the only two songs off Conversation Piece that the general public has heard.

“People have been really quick to go, ‘Oh, this is what their whole album is going to sound like,’” Lockwood says.

“They don’t even know how versatile it is,” Travis contends. “You know how the Internet goes; people are very, very quick to judge. It’s funny, it’s almost tickling. They have no idea. It’s going to be cool, because they’ll realize it when it comes out.”

Travis also wanted to get off his chest how he feels for Lockwood, who seems to be receiving the brunt of the reviews. The problem? Apparently he screams too much like Jon Mess, DGD’s co-vocalist. “Dude, if you have ears, you would know that it’s completely different,” Travis demands. “Their screaming styles are completely different. It’s just kind of like Jon Mess is the only person they can reference. It’s so funny, like when people compare me to Jonny Craig [DGD’s original vocalist who replaced Travis when he re-joined the band this year], it’s like, ‘Are you fucking retarded? Do you actually have ears? Because I sound nothing like him.’ Not that I couldn’t sing Jonny’s stuff and not that Jonny couldn’t sing my stuff, it’s just, we don’t sound alike. It’s the same thing with Jon Mess and Cory, and I just feel for him.”

Travis has gotten his fair share of attention, too, ever since his departure with DGD. “It’s just something that you have to deal with,” Travis says of constantly being asked about his situation. “It’s like one of those things about your job that you hate but you have to do anyways. I kind of relate it to that, because no I’m not upset, no I’m not tired of it. It’s just one of those things that I know that I’m always going to have to address and that’s fine. If I didn’t have all of that then I wouldn’t have any of this amazing stuff that’s going on right now. So, I think of it that way. Not like, ‘Oh man, I don’t want to talk about the past.’ All of that shit needed to happen in order for this amazing stuff to happen. I look at it like that so I’m not upset when someone is like, ‘What was it like? You got kicked out! Blah blah.’ I’m like, ‘Yeah, I did, but things worked out.’” And if you’re wondering, everything is cool between all the members of DGD and A Lot Like Birds. So much so that the two bands will share the stage together on Thursday, Oct. 13, 2011 at Sacramento State’s University Union.

After weeks spent listening to an advanced copy of their new record, an hour spent over beers at a local pub and a killer live set witnessed, it’s apparent to Submerge that A Lot Like Birds are their own band with their own identity and their own sound. Conversation Piece is no doubt the record that will solidify that and as of right now, getting the album out and into the hands of people who care about it is the only thing on their minds. With a grin from ear to ear, Travis says, “I think things will pop off real fast once that happens.”

A Lot Like Birds’ Conversation Piece will be out on Oct. 11 via Doghouse Records. See them live at Sacramento State’s University Union Ballroom alongside Dance Gavin Dance on Oct. 13. Sacramento’s own Ten After Two will also perform. Tickets are available at the University Union Box Office.

Dance Gavin Dance moves past another bout of offstage controversy and releases epic new album

Considering everything Dance Gavin Dance has been through (or has put itself through, depending upon how you look at it), Downtown Battle Mountain II is a fitting title for the band’s latest album. Released March 8, 2011 it sees the band pick up where it left off after its arguably most successful effort, 2007’s Downtown Battle Mountain. Five of the band’s original members–guitarist Will Swan and drummer Matt Mingus welcomed back bassist Eric Lodge and powerhouse vocal duo Jon Mess and Jonny Craig in 2010–reunited to enter the studio late last year. Despite their years apart, DGD’s put forth similarly remarkable results as they had in the past, in more ways than one.

“Writing started in the fall of last year around September,” says vocalist Jon Mess from San Antonio, Texas, a day prior to the band’s scheduled performances at the 2011 South by Southwest Music Festival. “Prior to that, Will had already started writing new songs. All of November and December was the recording. Tracked drums, bass and guitar through all of November and some of December, and most of December was vocals. I was there for almost a month recording, so was Jonny.”

It may sound like things came together rather quickly. Mess didn’t rejoin the band until summer 2010. His arrival was quickly followed by a tour and soon after the recording process for Downtown Battle Mountain II began. However, for Mess, it seemed much more laid-back as compared to when the band hit the studio for Downtown Battle Mountain, which was recorded in just two weeks.

“On this one [the sequel], we had two months,” Mess explains. “Last time we were in this shitty hotel, and it was freezing cold. I think I was a little sick then, too. This time we were in this house, and we had all this time. It was a lot more relaxed and there wasn’t as much time pressure–at least for me. Jonny came off a tour with Emarosa, so he came in a little later, but it was way more relaxed than prior experiences.”

Life in DGD post-recording has been anything but laid-back. Controversy sprang up once again surrounding Craig’s substance abuse. This time around, he allegedly defrauded his fans by offering to sell his Mac Book to his Twitter followers. When checks were sent, and no laptops were received, the band was once again forced to play damage control. Craig was sent into a seven-day detox program, which he just recently emerged from. Mess spoke with Submerge about DGD’s seemingly perpetual state of turmoil and Downtown Battle Mountain II, which, despite the all the backstage hullabaloo, is perhaps the brightest post-hardcore gem the band has produced to date.

I caught your recent Fuel TV performance. How did that go for you?
I was sick when we did it, so I wasn’t too happy with it. It was in Los Angeles. It was right before our first show. That was interesting. We had a studio audience there cheering and stuff. It was fun, I guess. I tried to have fun even though I was sick.

Was that a different experience for you guys?
Yeah. I’d never done that before. That was awkward. We had to do the songs multiple times and they came in with different angles. Afterwards they were shooting a comedy special with a bunch of people from VH1’s Best Week Ever–those different panelist shows where they have different comedians talking about stuff. A bunch of those people were there doing some little skits, and they asked DGD to be the backing band and play a little jazz riff. I don’t know where people can see that. It might be on Fuel. We’ll probably announce that when we find out.

You just came up with something off the cuff?
Yeah, they wanted us to play some kind of jazz, walking bass line–little flow thing that the comedians could do their little skit over. The guys came up with something pretty quick, and it ended up sounding pretty cool.

On the new album, did you and Jonny collaborate on lyrics or did you mostly write separately?
We talked about some themes, but it was mostly separate. A very small percentage of the lyrics go together. It was more of a scattered thing. That’s been our style since the beginning.

What sort of themes did you discuss? What were you personally trying to express on this record?
I like to write about all sorts of different things–snippets, fragments of ideas or dreams I have, various little stories. I kind of break them apart and put them together in different songs. One line might relate to another song later, so it’s not a cohesive body of material per song, more fragments of things that range from talking about food to being mad about something. Broad topics–nothing real specific. I don’t want to pigeonhole into having any limitations on what I want to write about it.

You and Jonny have radically different vocal styles, is that also the case lyrically, and is it difficult to get them to mesh from song to song? Is that something you work on closely together?
I think as long as the delivery is good, and you’re hitting the right notes and it’s flowing well, then the lyrical content doesn’t have to mesh in that sort of sense. First we go for the musicality–something that’s melodic or rhythmic or exciting in terms of phrasing and rhyming rather than we need to have these lyrics go together or we need a concept. That comes second.

There definitely seems to be a lot of hip-hop influence in your delivery this time around. You have this growling sort of rap cadence going on in a lot of the songs. Is that something you’ve been working on a lot on this record?
Yeah that’s definitely intended. I like all my parts to rhyme, and when I write them, I think of them as sort of a rap, like if you could rap that part, it would still fit. I’m not into so much the long, drawn-out, heavy screams over the entire thing. I’m more interested in trying to make it not necessarily as complicated as possible, but as unique and interesting that I can think of. It does come across it sounding like a rap because it pretty much is. It’s just a screamed voice rapping.

The record has gotten some good responses so far. Are you happy with the reviews or do you not bother reading those?
Yeah, I read the reviews. The one thing with some reviews is that people who write reviews are English majors, or they’re into writing and they’re not musicians themselves, so they sometimes clutter up the review with colorful verbiage or whatnot instead of actually giving content or criticizing or talking about different parts of the album. For the most part, it’s been good reviews, and I’ve liked what the people have said. Every review has something that I’ll read and I won’t understand how they perceive that about the album, but to each his own. I did watch this Youtube video of someone who hated the album, and his reasoning behind it, it was so funny because it was the antithesis of what Dance Gavin Dance is. The reasons he disliked everything was because, well, you really just don’t like what our band is about, not the album itself.

Jonny just got out of detox. How is everything going with that?
It’s going really well, actually, and I’m saying this as someone who’s not necessarily positive about the situation. He’s being really honest and real about it for once. It’s actually a little surprising to me. We’ll see how it keeps going. So far so good.

South by Southwest is basically a big party. Is that something you’re worried about as far as Jonny is concerned?
He’s doing Narcotics Anonymous. He’ll drink. He’s not getting wasted or anything, but if people are expecting him to not drink, I don’t think that’s what he’s doing currently. I’m assuming after this tour he could go into an actual 30-day program, which would be nice, instead of just a seven-day detox, because that’s not going to do it, obviously. Yeah, Austin’s going to be a huge party, but we’ve got our manager, label guy, all the people who are looking out for him are going to be there. I’m not saying we’re going to babysit him like a little kid, but at the same time we kind of are.

I read the interview you did with Alternative Press, and you later apologized to your old singer Kurt Travis and Jonny on Twitter for some of the comments you made. Given what you said that you’re not always the most positive about the situation, was it difficult for you to rejoin the band and get back into that frame of mind?
First off, that interview was a phone interview, and he relayed what I said in a sort of manner that wasn’t necessarily what I was saying. He asked me why Kurt got kicked out, and there was no real reason. I listed a bunch of reasons and he [the interviewer] picked the one about cigarettes… I said that Will and Matt said that, and then Will and Matt were like, “That’s not necessarily what we said. You spoke for us.” And I was like, “Sorry, I wasn’t trying to speak for you.” Me and Kurt are good friends, so I felt like saying, “Hey man, it came across incorrectly.” It made it look like I was divulging a story that wasn’t my business.

In regards to coming back, I was skeptical. Since I left the band, I reconnected with Jonny. We were skeptical of how the album would go down. We were just thinking, hopefully we’ll get the album recorded and see what happens from there. It wasn’t really a high-risk situation for me, because I could just do the record and if something went wrong, I could just go back to what I was doing before. There wasn’t really a lot to lose.

You mentioned the interviewer misconstrued what you said. Do you think that happens a lot regarding this band?
I think to an extent, yeah, and I think there are things that I said that I might not exactly feel, but I just said them at the time. I think that happens to everyone. It’s half and half. Some things get misconstrued, but that happens. Sometimes we feel optimistic about the situation, sometimes we feel pessimistic. If we were interviewed one day, there might be different responses. I’m not saying we’re bipolar or anything, just normal changes of emotions that people have.

Dance Gavin Dance’s Downtown Battle Mountain II is available now through Rise Records. The band is also currently on a U.S. tour with I Wrestled a Bear Once, In Fear and Faith and others. The tour will bring DGD and company to Ace of Spades in Sacramento on April 8, 2011.

Jonny Craig is front and center on his solo debut

Jonny Craig is a name many of you might be familiar with. The now Lexington, Ky.-based singer is currently frontman for Rise Records’ indie core sextet Emarosa. However, now that he has a bit of down time from his regular gig, he’s decided to start from scratch, so to speak, with a brand new project—his first ever solo album, A Dream Is a Question You Don’t Know How to Answer.

Submerge spoke with Craig before sound check for his Nov. 23 show at The Door in Dallas.

Has having to start over with a new project reignited your passion for the music—having to rebuild a fan base with your own music?
In a way, it kind of sucks trying to go back and build a fan base, but then again, there’s not so much pressure. Like, “Oh, I’ve really got to nail this one, because everyone’s watching.” It kind of gives me a chance to go back and breathe a little bit and not be so worried about everyone’s opinions. Only I’m the one that matters. The backing band, if I mess up, they don’t care. Instead of having six opinions, you only get one. It makes it a lot easier for someone who fronts a band. It’s like, “There’s only one person writing this stuff; it’s you. So just relax, have a good time.” All you have to do is make sure your band is in place, and you go with it.

From what I’ve heard of the album, there seems to be a lot of different styles from song to song. Were you looking to branch out and try different things?
Like I said, we wrote skeletons to the songs, and then I sang over them. I just sang what I heard on the tracks. And then we were like, “This song’s a little funky, let’s put some weird guitar behind it or piano.” That’s how it really got decided. It was just me singing what I heard, and then it went from there. After we had the skeletons and the melodies down, then we did all the real guitar work and all the stuff that made the album—like the fillers.

So it sounds like a lot of it came together in the studio then”¦
Yeah.

Is that a lot different from how you’ve worked with Emarosa and Dance Gavin Dance in the past?
No, man. I just really like to go off the head when I record. I don’t like to over think melodies, over write things. I just like to go in and bust shit out, and think about it on the spot. If I don’t like it, I’ll start all over and find something new. I like to be 100 percent—I wouldn’t say improv—but not so organized. I like to relax and think to myself, “Hey, I want to go in here and do whatever I hear, because I’m going to trust myself. Instead of being like, “Oh, this needs to be catchier,” you know?

Before you mentioned that with this project, you don’t have to consider other opinions, just your own. Did that give you more leeway to explore the kind of stuff you were hoping to, like maybe stuff you weren’t able to do before with your music?
That’s the best thing about it. I didn’t go in writing anything. I didn’t go in expecting it to be, oh, like, “Let’s write an acoustic album,” or, “Let’s write a pop-y hip-hop album.” I just wanted to get in there and see what we could come up with. It was all about whatever came to my head. I hate people who over think everything and are so critical about what they play and how it sounds. I want to have fun singing. I just wanted to make an entire album just like that and show people that it can be done without stressing, and without really having much of a care except that you love music.

I watched the video for “I Still Feel Her, Part III” while getting ready for this interview. Was that a concept you came up with yourself or was it a director’s idea?
That was my idea.

Is it pretty true to the lyrics?
No, it has nothing to do with the lyrics. It’s a private meaning for me, and I’m not going to give it away.

It was pretty racy in the beginning with the two women making out half naked on the bed. Have you caught any flack for that?
No, you know, it’s whatever. Controversy is my middle name.

It doesn’t seem like something you shy away from.
Yeah, you know. I like to have fun. I like to do what I want, and I don’t care what anyone else does”¦ I just think a lot of people put up a front. Obviously, people aren’t as perfect as they portray. Like, they want to be in this band, and they want to be responsible and be role models for kids and stuff. I make music for myself, and I shouldn’t have to hide who I really am, because I make music to keep myself alive. I’m sorry that I might not be the best role model for someone’s child, or I might not be the best person for someone to look up to, but I want to be myself. If people say, “He drinks too much, or he does this or that.” I’m not going to hide who I am just so I can be bigger”¦ It’s just not who I am.

Writing music, I’m sure, you put a lot of yourself into that also”¦
The funny thing is, I never hid behind anything. And if you can’t grasp who I am or what I’m about, then that’s your problem. I guess that video—without giving too much away—is just me being like, this isn’t something I care about, people saying I drink too much or party too much”¦ I’m not going to get into it. It is what it is.

Jonny Craig will played The Boardwalk in Orangevale on Dec. 1, 2009 with Tides of Man and Sleeping With Sirens.

No More Drama in the DGD

Dance Gavin Dance’s mélange of screamo and R&B has earned the group quite a following both here in their hometown of Sacramento and beyond. Though its members’ mean age is around 20, the group has already traversed the country six or seven times, most recently in support of Poison the Well. With just a few California dates to come (including Bamboozle Left in Irvine and four dates as part of the Artery Foundation tour that will bring Dance Gavin Dance to the Boardwalk on Apr. 19), the band is now ready to re-enter the studio with a new singer, Kurt Travis, in tow. Submerge sat down with Jon Mess (co-vocals), Zachary Garren (guitar) and Eric Lodge (bass) outside Sargent’s House of Coffee on Alhambra Blvd. and discussed the forthcoming album and the rift that caused Dance Gavin Dance and original singer Johnny Craig to part ways.

You’re going to be heading into the studio soon, right?
Jon Mess: Yeah, Apr. 20 [2008].
[Eric Lodge and Zachary Garren both laugh.]

4/20, huh?
All: [Laughter]
EL: That first day won’t be too productive.

Do you have a bunch of songs done already?
ZG: We have nine so far. We’re going to finish up the ninth one today.

How has the writing gone for the new album now that you have a new vocalist?
EL: We kind of write without our vocalists in mind. We like to incorporate parts for our vocalists, but like, it’s just the people in the band who play the instruments who do the writing, so it’s not really affected by the vocals or anything. So far it’s been going really good. We’ve been progressing pretty steadily. We’re really stoked on the new stuff.

How would you say you’re progressing? Which direction do you see the songwriting heading?
ZG: It’s more groovy.
EL: Each song is tackling a different genre or sub-genre, I guess you would say. But yeah, it’s definitely more groovy, more energetic.
JM: There’s a lot of different types of sounds.
EL: But it still sounds like it’s us. It still sounds like you’re listening to Dance Gavin Dance.

Jon, you’re one of the vocalists. Lyrically, how is the writing going for you? Have you written a lot of the lyrics yet?
JM: Yeah, I’ve got about five songs done. It’s cool. I don’t know how it’s going to end up, but I think it’s going to be a lot better than how I collaborated with our old singer. It’s a lot more coordinated, a lot more thought out. Vocally, I think it’s a little more together.

With Jonny leaving the band, it didn’t seem like a very neat breakup.
JM: There was definitely some drama there, yeah.

Why did you guys part ways?
JM: We just couldn’t get along with him at all. No one in the band liked being around him.
ZG: No one outside of the band even liked him.
EL: Ever since we started the band, we knew that we didn’t get along. We tried so hard–literally, so damn hard–for two and a half years. It just got to the point that the band was going to be done if we didn’t do something about it.
JM: It was affecting everyone to the point where no one wanted to be in the band at all, because of the way he was bringing everything down.
ZG: The way he was acting, his attitude…

I’ve heard the tracks that you guys recorded when Jonny was the vocalist. It’s a really aggressive sound. Did that animosity sort of fuel the fire at all?
EL: I think it more just motivated us. Like, we’ve got to write the best record that we can and show everyone what’s up. The aggression–I don’t know where that comes from.

Kurt’s the new vocalist, but was there ever an inclination to just continue with Jon as the sole vocalist–especially after your last experience?

JM: It was an idea, but that would be very much changing… Well, you’d have to change the music. It would just really change the whole band in a way. It would be hard to keep growing in terms of popularity and touring and whatnot. Because then we wouldn’t be able to play our old songs. I don’t sing like him at all. We needed someone who’d be able to sing the old songs. I can’t sing the old songs, and none of us could, so we just threw that idea out the window and didn’t discuss it any further. And I don’t know if any of us wanted to be in a band that was all heavy screaming and whatnot.

Before you were mentioning that the stuff you’ve been writing has been really groovy, and that’s the one thing that jumped out at me listening to the songs with Johnny’s vocals had a really R&B vibe to it. Is that something you’re trying to amplify more with the newer stuff?
ZG: I think that’s just Will [Swan, guitar]. He’s black. He said he’s been channeling his black side.
JM: There is a song that doesn’t have a name, and it’s called “R&B Song.”
EL: We have another new song that’s going to have a big dance crescendo.
ZG: I think we all sort of like that stuff anyway.

How long did you search for a new vocalist?
ZG: About a month I think.
EL: We knew about Kurt [Travis, formerly of Five Minute Ride], obviously. The day after it happened, we saw Kurt as an option. Our manager, Kurt is like his baby boy. Our manager said, “You know there’s Kurt.” We tried a couple people out, but none of them could come close to what Kurt could do, so it was a pretty simple decision.

Given the tumultuous history with your last singer, was Kurt someone you’d considered replacing Jonny with before?
ZG: I do remember once we’d discussed it.
JM: It was considered. We got to the point where we decided that it was better to do it now than have it happen on the road. But honestly, we didn’t kick him out. He quit, and then he wanted to come back; and that happened a lot. He would quit and then the next day he would say he was just kidding or something. This time, he did a series of events that were a big deal, and he quit, and we just said, “Fine, man. See you later.” A lot of people are saying, “You guys are so stupid. You kicked out your singer.” Well, he left the band, and we just said, “OK.” We didn’t argue. Maybe it was just a mutual thing. Then he wanted to come back. I don’t know. He was a little out of his mind.

You’re heading into the studio in April. Do you have a release date set for the album yet?
EL: It’ll be out Aug. 19 [2008].

Do you have a title for the album yet?
ZG: It’s sort of up in the air.
JM: I sort of wanted to have an end of the world type theme.

Does that fit with the lyrics you’ve been writing?
JM: I don’t know…
EL: We were going to have four-part songs about these paintings Jon had done [laughs].
JM: We have a bunch of ideas. We don’t know which ideas will come into fruition or whatever.
EL: It could be anything–continuing part threes and part fours maybe from our EP. Kind of like movies: sequel!

A sort of concept album?
EL: Yeah, but not a full concept album. Like some parts will be a concept, but it’s kind of random. We’re still working out the details.
JM: Or maybe it’s just a huge hype gimmick. There’s going to be a new CD, you like the first two, so maybe you’ll like the third part.

Also check out our interview with Will Swan from Dance Gavin Dance (June, 2009)

Also check out our interview with Jonny Craig (Dec, 2009)

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