Tag Archives: Jonny Craig

Jonny Craig’s New Band Slaves to Release Debut Full-Length, Through Art We Are All Equals

Slaves, a new Sacramento-based band formed by vocalist Jonny Craig (ex-Dance Gavin Dance and Emarosa) and Alex Lyman of Hearts and Hands, is releasing their debut album, Through Art We Are All Equals, via Artery Recordings on June 24, 2014. The album, produced by Kris Crummett, is 11 tracks total and features guest vocals from Vic Fuentes of Pierce the Veil, Kyle Lucas, Tyler Carter of the band Issues and Jonny’s sister, Natalie Craig. Lyman wrote the record and recorded all the instruments, but he and Craig have put together a heavy-hitting, well-seasoned full band featuring drummer Tai Wright of Four Letter Lie and Destroy Rebuild Until God Shows, bassist Jason Mays from Of Machines, and guitarist Christopher Kim, also of Hearts and Hands. We here at Submerge have been keyed in on Slaves for a couple months now, getting early previews of the full album and updates from their management, and we’re stoked for the public to finally hear the epic rock album we’ve come to love. Slaves will play their hometown album release show on Friday, June 20 at Assembly with openers Kyle Lucas, Cemetery Sun, Wrings, Altessa, Overwatch and Imagine This. To hear some tracks off the new album and to learn more about this new group, visit Facebook.com/officialslaves, follow @slavesofficial on Twitter or hit up Arteryrecordings.com. To snag advance tickets ($13) to their Sacramento release show, visit Assemblymusichall.com.

Constantly Creating

A Lot Like Birds Vocalist Kurt Travis Uses His Brief Downtime to Record Solo Album

The life of a touring musician can be grueling. You write and write and write some more, then you record an album and get it mixed, mastered and pressed. After all that, if you have any money left, you release said album and if all goes well and all your ducks are in a row, the next logical step is to leave normal life behind and hop in the van (or if you’re lucky, a bus or motorhome) and tour the shit out of the album. It’s a process that’s not cheap and not easy.

Kurt Travis, co-vocalist of Sacramento-based post-hardcore outfit A Lot Like Birds (and former co-vocalist of fellow Sacramento-based band Dance Gavin Dance) knows the drill all too well. “A Lot Like Birds doesn’t give me a lot of downtime, but when they do, I’m kind of thankful for it because then I can go forward with some solo stuff,” Travis recently told Submerge during an interview in his new downtown Sacramento loft. “ALLB was going to do this European tour and it ended up falling through. Immediately I was like, OK, I have this amount of time, lets bang out a record and lets go out on tour and sell it.”

Travis enlisted the help of longtime friend and former bandmate Zachary Garren (they played in DGD together years ago). Garren, who now plays in the instrumental band Strawberry Girls and lives in Salinas, Calif., would come up to Sacramento for a few days at a time and the two would write songs and work on the album’s pre-production. They were also sending song ideas back and forth even when not in the same town. Before they knew it, they were sitting on a full-length’s worth of solid material, had a label ready to release it (Blue Swan Records, a new label that is run by Dance Gavin Dance’s Will Swan) and a full-on tour booked to support the record, which will be titled Everything Is Beautiful and will be released sometime later in May.

As of press time, Travis and Garren had only released one song off of Everything Is Beautiful, a pop-y, upbeat ditty called “Brain Lord.” At last check, it had 16,031 views on YouTube after only being uploaded a week prior. With no plans to release any other material from the album before its full release, Submerge was lucky enough to get a private listening party where Garren and Travis allowed us to hear rough, unmixed, unmastered versions of seven of the 12 songs that will appear on the album. What we heard was not some half-assed solo effort from a lead singer who just wants to put something out for the fuck of it. What we heard was a focused, mature, surprisingly pop-friendly album that touches on surf-rock with lo-fi garage vibes, glittering and noodly lead guitar lines, lush layers of vocal harmonies with sprinkles of synth-y goodness. It’s light and accessible (we only heard one part with aggressive vocals, and it was more of a shout than a scream) without being overly cheesy. It’s an artsy pop album, if you will, and it’ll more than likely have you moving and grooving.

Check out an excerpt of our conversation and mark your calendars for Kurt Travis’ tour kick-off show at Luigi’s on Wednesday, May 14, 2014.

EDITOR’S UPDATE: As of May 13, 2014, Kurt Travis’ Everything Is Beautiful was available for streaming here.

Kurt Travis Submerge interview

Tell me a little bit about the album title, Everything Is Beautiful. What’s the reasoning or motivation behind calling it that?
Kurt Travis: With every release I kind of have a theme, because it’s fun. It’s fun to have a certain message. My first [album theme] being this little girl I knew, she was just learning how to speak, and I related to her because it was kind of like my first solo effort and the songs were very primitive. So it just kind of had this theme, that’s why I called it Wha Happen. She kept asking me that. For this [album theme], I’ve been under this impression lately. I’m very happy. I’m very creative. I’m doing really, really good. I’m having an amazing time with A Lot Like Birds and I’m having an amazing time writing my own stuff with Zach. The theme is Everything Is Beautiful because, well, it is. Just appreciating things that aren’t necessarily beautiful, but you watch them, and they change and your perspective on them becomes different. Kind of that sort of thing like, what is beauty, or what is art? I could get really crazy on you. We could talk about what is beauty and what isn’t beauty, but it would be wrong. Everything is beauty.

Would you say this is the most pop friendly thing you’ve ever done?
Zachary Garren: It’s definitely the poppiest.
KT: It’s the poppiest freaking thing I’ve ever done in my whole life, and you know what’s really weird is I was really trying not to. With this record I was trying to go for that like new wave sound…and it came out super pop-y and funky and groovy.

How does your approach to writing lyrics for your solo material differ from when you’re writing with A Lot Like Birds?
KT: They’re very, very different. Nowadays I’ve been writing very conceptually, not as song-to-song-to-song. But kind of an atmosphere or a story within that song, and kind of vicariously really, which is weird, because that’s something that I really don’t do. I usually write from life and sorrow and just, you know, therapeutically healing myself. I don’t really do that anymore. I guess I don’t really have the need to. I don’t have to be extremely worried about what’s going to happen next. That’s totally kept me up at night in younger years when it comes to music.

Your work with your other bands no doubt keeps you guys busy: Constant touring, writing, recording, doing press, etc. Why not just use your down time to relax? What is it that drives you to want to create music even during your little bit of time off?
KT: I think Zach and I will totally say the same thing. It almost feels the opposite, you know what I mean? If you’re constantly creating and you’re doing different genres and such, I feel like sometimes the more opposite the genre, the more I’m just secretly influenced by it because it’s completely different.
ZG: I just like to create a lot. Some days I’ll do way more than other days…
KT: When I tell him to write a song, he’s got like six the next day. By the time I’m done listening to those, he’s got two more. And then when we get to the studio he’s like, oh man, I got to relearn these. It’s like that show Heroes where the guy blacks out and just does some amazing shit.
ZG: Being a musician is different than working a 9-to-5 sort of job. It’s not easy, but it’s different. It’s still fun to a degree.
KT: Even if I didn’t write a record this last month and immediately go back out on tour, I probably would have worked an odd job for a month and did it that way. But instead, I made a record, and I invested money in the T-shirts I’m going to sell on tour, stuff like that.

So in a way, it’s kind of like an “in between job” that just happened to be creating a record?
KT: Exactly. When Joe [Arrington, drummer for ALLB and who also plays on Everything Is Beautiful] is home, he plays with like four different cover bands and makes way more money… I guess there is this mentality of like, work your fucking ass off, because we are privileged enough to be able to play music.
ZG: Creating music in a way is also kind of downtime. If you’re a musician, what do you do in your downtime from your job? You’re probably doing music. We’re just kind of having extra fun. We do it because we like it and want to try to keep getting better and hopefully making better stuff than we have in the past.
KT: The more you make music and go out on tour, the more you’re going to gain fans. At this point, I’ve been doing it for almost 10 years, I might as well just keep on. Kids still appreciate it and still buy the previous stuff and the new stuff. They’re still buying it, so…
ZG: It’s cool to switch it up, too, because this new album isn’t like anything we’ve done in a long time. It’s the most accessible kind of thing. There’s no screaming so it’s a more mature version of some of our past stuff.

With this album being so much more pop friendly than most of your guys’ past stuff, is it crazy to think that this could very well become the most popular shit you’ve ever done?
KT: It very well could be, although you never know.
ZG: It has the potential, but there are so many little things.
KT: I mean, my manager is Eric Rushing and he’s pretty freaking connected. I did my best. A lot of the times I’ve shown him stuff, and he’s like, “Dude this is fucking incredible, what am I supposed to do with this? This is the best song I could never do anything about.” So this record will definitely be like, “Here you go man, this is probably the most accessible thing you can get out of me, what can we do with it now?” And I think Eric can do a lot.
ZG: And it’s still creative music too, which is cool. This is going to be like our parents’ favorite record.

On the same day that you dropped the first single off your album, Jonny Craig and Tilian Pearson, two other vocalists with past or present DGD ties, also dropped new songs from their new projects. Was that just a big coincidence, or was that meticulously planned out by your management or something like that?
ZG: Not planned at all.
KT: Swear to god. Not planned. We wanted to put it out a couple days earlier, but it didn’t work out. That’s what happens.

Don’t you think in a weird way it might have worked to everyone’s advantage?
KT: Oh we loved it! We milked the shit out of it. It was crazy awesome cross promotion. I talked to Tilian, too. He was totally super happy about it, just like, “Oh my gosh this is going to boost everything!”

One question that I feel a lot of people are curious about is what your relationship is like with all those guys? Jonny, Tilian, all the other DGD guys… I feel like people think there is all this drama. Is there?
KT: No, no. Jonny was at the recent DGD show at Assembly, and I was at that show with Zach. I see Jonny at Ace or Assembly or whatever. I talked to Tilian after the show, shit like that, we were all talking and hanging out after the show. Everybody is just doing their thing. There’s a lot of shit you can check out from all of us, there’s just a big resume from all of us, and that’s really cool.

See Kurt Travis, Zachary Garren and their newly formed backing band play songs off of Everything Is Beautiful at one of the few remaining shows at Luigi’s on Wednesday, May 14, 2014. Also performing will be Hotel Books and So Much Light. Show starts at 7 p.m. and all ages are welcome.

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Adapt or Die, Zac Diebels is Z ROKK

Despite his mostly rock-based background, Zac Diebels aka Z Rokk is making big moves as an electronic artist

On a quiet and cold Tuesday night, students are coming and going from their lessons at Rock Inc., a music school and recording studio with approximately 150 students in Citrus Heights founded by Zac Diebels, better known to many as Z Rokk. Submerge is sitting down with Z Rokk to talk about his new electronic-based album Th Btchrs Bll, but we quickly sidetrack and start to rap about his past. At age 15, when most of us were getting jobs at McDonald’s or the local bowling alley, Diebels took out a loan from his father and purchased DJ gear and enough music to start playing corporate parties, weddings, you name it, as long as it was a paying gig (he eventually paid his father back every cent).

By his early twenties his rock band Simon Says was signed to a major label and touring the world playing alongside groups such as Kid Rock, Deftones and Filter. He’s worked with mega-producers like Rob Cavallo (who produced all but one of Green Day’s albums along with countless other huge bands) and Mark Needham (who has mixed albums and singles for everyone from The Killers to Lindsey Buckingham). He’s had, and continues to have, his music placed on TV shows like Jersey Shore and Project Runway among many others.

He has truly lived what many of us would consider “the rockstar life,” making music his job every step of the way. These days at Rock Inc. he teaches guitar, bass, drums, vocals, even audio engineering and offers producing and mixing for artists. If you can consider it a “day gig,” that’s it, but by night you can usually find him DJing local clubs, remixing songs on-the-fly and generally rocking the party. Check out this excerpt from our interview with the talented multi-instrumentalist to learn more about his upcoming record and what makes him different from a “drag and drop DJ.”

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Producing and writing for other artists seems to be something you enjoy and have been keeping busy with lately. Have you always had a knack for helping other artists hone their talents?
Yeah absolutely. What you see now, there are guys like myself that are DJs, producers, writers, they play tons of instruments. They’re not just DJs or just whatever. You’re a go-to tool. Usually a lot of these guys have studios of their own and they’re able to do a lot of things. And for a manager, label, PR firm or an artist, it’s helpful to be able to hire a guy, one person, that can do a lot of these things really well rather than hiring a full team. But you don’t want to become a jack of all trades and a master of nothing, so I think because of my experience working with big producers and big artists, I have the experience of knowing how these guys make records. Now I can transpose that experience to your record.

What sort of projects are you working on now as far as producing and engineering goes?
Working with Jonny Craig a lot. Overwatch, I helped develop them. A lot of stuff for Diamond Dez. A lot of hip-hop stuff. I just got some syncs and licenses with Fox Clothing, Quiksilver and Roxy. A lot of publishing stuff. I do a lot of music for MTV shows, I’ve had so many songs on like Jersey Shore, Keeping Up With the Kardashians, Project Runway, things like that. These days I’m concentrating more on duos or solo artists. I just like it. I feel like in a band setting I usually end up working with one or two guys anyway. I love doing remixes. I’m getting a little tired of the traditional rock band. Rock Inc. has been a godsend because I don’t have to do the studio to pay my bills. I only do records I want to do. I don’t need the money, my business is fine with that. I do records I want to do that make me happy that I enjoy. Jonny Craig makes me happy, Diamond Dez makes me happy, Overwatch makes me happy, Th Btchrs Bll record makes me happy. I’m lucky, not everyone gets to do that.

Tell me about Th Btchrs Bll. What can people expect from it?
Th Btchrs Bll is an electronic, remix, dubstep record. I like heavy music, period. I’m pretty intense and people that know me know that. I’m intense about love, happiness, whatever I do. And I love music that makes me feel emotional. I started listening to 12th Planet a lot more, the Crystal Method, Chemical Brothers, New Order, stuff like that, and I was like, “The songs I love the most are the ones that sound like they should be in a Transformers movie.” Just huge and dirty. I love MSTRKRFT and Death from Above 1979, and I was just like, “I want to make an electronic record that would be like an Automatic Static [Diebels’ solo rock project] record, just really heavy electronic music.”

Having had a mostly rock background, what do you love so much about electronic music and DJing?
My intern and I were just having a conversation about this. He was all, “It’s weird that you’re so into electronic music when you came from a rock band.” I was like, “Not really.” I’ll tell you why. Being in a band, it’s all about this group of guys being on stage performing for the people. When you’re a DJ, people don’t really care about you, they care about the vibe… They can barely see you. No one’s going, “What’s he doing? He’s playing some crazy solo!” You can’t even see what I’m doing. It looks like I’m at a table. No, what they want is, “What is he going to do to us next? What vibe or emotion is he going to send us next?” That’s what I like. It’s all about the energy that you get from people around you.

Let’s talk about your process when performing or DJing live as Z Rokk. You’re not simply queuing up songs and pressing play. You’re actually remixing songs live, right?
Yeah, I’m not a drag and drop DJ, that’s not what I do. So what I do is I’m more of a “remix DJ.” It’s not like I invented this. DJs do this. I use a program called Traktor—a lot of DJs use Serato. Serato is more traditional like playing a record, drag and drop and press play, or scratch over it type thing. Traktor is made by a company called Native Instruments and it’s really revolutionized things because it allows you to take every piece of the song apart. Kick loop, snare loop, hi-hat loop, whatever. I can turn those pieces on and off on the fly, I can put effects on them on the fly and then I can sync them to each other and play them to another track. I’m remixing live. You’re hearing a version that’s never been made that I’m making up on the spot and it’s different every time. And what’s cool is that I can broadcast it, so if you come to a gig that I’m doing as a remixer, you can dial in on your smartphone or your computer and download what I’m doing. So on Th Btchrs Bll record, what I’m doing is you will be able to download not just the stems like a normal remix record, you’ll be able to download all of the pieces so that you can take a song and remix your own live version with the pieces that I give you. It’s called remix decks. It’s becoming really popular. It’s like making music out of music. Like putting a mirror against a mirror, just endless. It’s really exciting. I love it. We live in a really great time.

What are some of the tools or technology that you use in the live setting to achieve this?
I used to have an MPC [Music Production Controller], but now I’m using Machine, also by Native Instruments. It allows it to also be a midi-keyboard so you can use it as a synth, you can sample your voice or whatever. And then it’s software-based, so it allows you to have it here [points to computer screen] and that way you can see what you’re doing. In dubstep and electronic music you’re using a lot of synths and stuff like that: wobbles, growls, LFOs [low frequency oscillators], performance oscillators. With Machine and programs like Massive and FM8, this is where it becomes literally engineering. You are engineering sound. You’re taking oscillators, frequencies and different things and then manipulating them by adding distortion, delay, reverb, modulation effects or whatever to the point where I’m making from scratch things that came from literally nothing. For me, it’s pretty much adapt or die. This is the way things are going, at least in this genre of electronic-based music. What I like to do is to make the technology an instrument.

Do you think you look at electronic music different than someone who doesn’t have a rock band background?
Probably, I think that’s a safe assumption. I look at electronic music as the future and a new frontier. But it doesn’t have to fulfill the stigma that I think it gets where it’s like, “Oh well it’s in the computer so it’s just so easy, anybody can do it.” That’s bullshit.

Now that you’re back “behind the decks” so to say, DJing and remixing whatnot, it’s sort of come full circle for you in a weird way. From the outside looking in, you’ve had a pretty crazy life. Do you ever think about that sort of stuff?
Sometimes you’re in your own bubble. I’m like any other artist, I’m really hard on myself and I get really down on myself sometimes like, “I suck, this sucks, I hate this, that sounds like shit!” Then sometimes I kind of have to shake my head and go, “Oh yeah, I’ve never had to do anything else but music, this is pretty cool.” The one thing I always try to remind myself as hard as it is, because, you know, the music business can be pretty fickle… But then I start to think that I wouldn’t have been able to do this this long if I sucked. I’m not that good of an actor. There’s no way I could have faked it this long. Or, I should just get an Oscar. I just love making music, I can’t help it.

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Th Btchrs Bll by Z Rokk will be available in late March via digital label Authentik Artists. Keep an eye out at Zrokk.com or Facebook.com/zrokkmusic for more information. Catch Z Rokk DJing and remixing live on Wednesday nights at Dive Bar, Thursday nights at R15 and Saturday nights at K Bar. You can also see Z Rokk at Concerts in the Park on July 19.

Might As Well Jump • The Seeking keep the faith as they embark on U.S. tour and release debut album

Faith is a powerful thing. It drives people to do all kinds of things–both positive and negative. For Sacramento Christian hard rockers The Seeking, faith has been a nourishing force in the band members’ lives. The band stands to release its full-length debut, Yours Forever, on Nov. 6, 2012. Before that, they will launch on a mammoth cross-country excursion, touring in support of Woe, Is Me.

The tour begins in Atlanta on Nov. 2, 2012 and circumnavigates the United States before culminating in Greensboro, N.C. The trip will keep The Seeking busy, playing shows almost every day, and it’s so extensive that some of the band members (which include Taylor Green, vocals/screaming; Dylan Housewright, clean vocals/guitar; Grayson Smith, guitar; Shane Tiller, bass; and Ben Wood, drums) had quit their day jobs, taking a leap of faith in their music, so to speak.

It would be a nerve-wracking experience for anyone, diving headlong into a career in music, but considering the members of The Seeking range just 18 to 21 in age, it may even be more so.

“We’re probably going to cry,” Taylor Green joked in the first of two phone conversations about the band spending such an extended time away from family.

Green started the band with Housewright in 2010, the two still in high school. Green wasn’t sure what his role would be in the band they wanted to get together. He considered bass and guitar, but didn’t want to buy the gear. He even thought about drumming, but the physical coordination proved difficult.

“I was going to try to do drums, but the only thing I really needed to try to get down was the feet,” he said. “It’s the hardest freaking thing. I don’t know how Ben does it.”

Green had done more traditional singing in his church’s youth group, however, and settled on becoming Housewright’s vocal counterpoint in The Seeking. Though Green also provides traditional clean vocals, his guttural screams shake up Housewright’s soaringly melodic voice.

“Screaming showed up out of nowhere,” Green said. “I figured I’d just try it. I just went for it.”

It would seem Green made the right decision. The band signed to a label (Razor and Tie) in September, and when Submerge talked to Green, he and the band were in Los Angeles, recording with well-known producer John Feldmann, who’s worked with a litany of well known artists (The Used and Papa Roach this year alone) and is also the frontman for pop-punk stalwarts Goldfinger.

Listening to The Seeking’s Yours Forever reveals a barrage of heavy rock sounds–crushing guitars, pummeling breakdowns and snarling vocals–but the album’s most striking feature is its melodicism. It’s the band’s pop tendencies that The Seeking is working to bring out under Feldmann’s keen, catchy songwriting sensibilities. Green reported that the band was re-recording “Alone,” perhaps the most hook-laden track on Yours Forever, reworking it to make it even more radio-friendly as well as working on a new as-yet untitled song the band co-wrote with the producer that should be released in 2013. In the following interview, Green described what it was like working with Feldmann, offered clues into the band’s first music video and discussed matters of faith.

How has it been working with John Feldmann? What have you done in the studio so far?
Oh, it’s amazing. It’s an awesome experience working with him. The bands he’s recorded are legendary bands, and he’s done some solo artists as well. So far, it’s been awesome. We’ve done a lot of demoing the past couple days, and today we started doing the final product and it turned out really good. We’re laying down some drums, we got the bass track laid down in there. It’s turning out really well.

You mentioned a couple days ago that you were going to be working on “Alone.” Is that the track you’re going with for the radio?
We’re actually working on two songs. We’re releasing “Alone” on the album, the original one, but this one is redone a little bit. It’s going to have some new parts to it. It’s going to be released separately for something for radio–hopefully it will get there. We’ve got another song that we started completely from scratch, and it’s all ready to go. It’s all demoed out. That one sounds amazing as well.

You said you were working on rewriting the chorus for “Alone” with John Feldmann. How was it writing with him?
His writing is pretty cool. His studio is separate from his house–he works on his property–but he’ll go play his piano in his house. Dylan met up with him at the house and they worked something out. It’s definitely hot, and it’s definitely catchy, and it’s definitely awesome. It’s going to fit so well.

Tell me about this new song you guys started from scratch. Was it based on any ideas you and the band had kicking around?
We had some ideas, but we came in and we didn’t really get a chance to show them. He [Feldmann] started off asking us some questions when we first got there and took off and started writing. We came together and figured everything out. It’s all from scratch. We started writing it when we got here. It’s turning out awesome.

What kind of stuff did John ask you guys to get you going?
He just wanted to get to know us a little bit, to see what kind of band we were. We covered the fact that we were a Christian band. He asked us about how we grew up and what type of music we started playing and how were we before we got signed, and how we’re evolving. He went off and started recording stuff. The chorus is definitely the catchiest part, but it’s a really pop-y side to us. We think people are going to dig it.

You guys seem to be exploring the pop-ier side of things. You were saying that you came from a heavier music background. Is it fun for you to do something outside of your comfort zone?
It’s really fun. We’ve been playing a style for so long, and we definitely see ourselves staying in that style for a while, but this is something that’s different from the album. It’s way pop-ier than the album, but it’s fun to go in there and throw down some singing–no screaming at all.

You’re going to be filming your first music video on Sunday. What song are you shooting the video for?
It’s going to be for the title track, “Yours Forever.” I’m not sure where it’s going to be yet, but it’s somewhere in SoCal. It’s going to be fun.

Did you have a hand in the concept of the video?
Yeah, we picked the concept a couple weeks ago. We had about three concepts to choose from, and this one fit the meaning of the lyrics more. The other two didn’t fit the lyrics too well, but this one definitely did.

Can you talk about the concept more?
I don’t think so [laughs]. I’m not too sure what I’m allowed to talk about. The lyrics are about God talking to us… I’ll get into a little bit. I believe it’s about a girl, and something happens where she could lose her life. Right at the last minute, or right after she dies, her life flashes before her eyes, and then the music video kicks in, like everything kicks in, to what she sees in her future. It flashes to her at the end, to her before her dying, and then the video changes from there, and there’s a twist to it. I’m really excited about it. It’s a cool concept.

A lot of your music deals with your faith. Is that the band’s first goal when it comes to making music? Are you concerned with expressing that?
Definitely. We want people to know that we express our faith through our music. We’re not like those preaching bands, like For Today, but when we play, we want to show people that we’re there to love on them, and God is there to love on them. We’re here for a reason, not just to play music, but we’re here to be a shoulder to cry on or a friend to them. We’re trying to show God’s love through the band to them. It’s just an opportunity to show people that they’re not alone in struggle, that if they want to try God out, we definitely encourage that. Just, not make them feel uncomfortable when they come to watch us, that we’re there to simply hang out with them and talk with them about anything. If they want to have faith in the Lord, then we’re there to encourage them. Faith is a huge thing with the band. It’s something we want people to recognize.

Was music one of the things that helped you discover your own faith?
Yeah. I became a Christian when I was young, but nothing really hit me until I started high school, and even then, I wasn’t in any bands or anything. I grew up in a Christian home. My parents didn’t, but when I was born, they became Christian and their faiths grew as well. They didn’t pressure me like a lot of parents would. It was more of a choice for myself. I was always a clean-cut kid. In high school, I thought for a long time I’ve been faking it, but let me see what it is to really put myself [into faith]. It was an awesome experience. I grew to love the Lord. Music is one thing I want to do with the band, because I knew it would get me out of my comfort zone of just staying in my hometown and going to church and being on the worship team. I wanted to step outside my comfort zone and see where God could take me. I trust Him to take me out on the road…and see what He could do with me. It’s an awesome opportunity, and it’s going to change my life.

The Sacramento area will get a few chances to see The Seeking live. First, they play with Jonny Craig for a two-night stint at Luigi’s Fungarden on Oct. 26 and 27, 2012. The band returns on Nov. 19, 2012 with Woe, Is Me at Ace of Spades. The Seeking has also set up a donation page to raise money for gas during their long arduous trek across America. Help keep the fuel tank full by going to http://www.indiegogo.com/theseeking. For more show info, go to http://www.facebook.com/theseeking.

Prog Rock Extravaganza!

The Pride of Lodi, In Oceans Prepares to Play Sacramento

Before the progressive rock group In Oceans starts band practice, they prepare to embark on a mini journey. All six band members pack up their instruments and meet at a cottage, located in the “boonies” to get the creative juices flowing. While jamming in the small cottage, the band has turned their random guitar strums, bass notes, drumbeats and song lyrics into music that can make anyone want to jump around in a mosh pit.

The Lodi, Calif.-based group is ready to share their five-song EP Earthwalker with music fans everywhere. Submerge caught up with vocalists Stephen Parrish and Matt Miller over the phone after a day of practicing for an upcoming gig.

“We just came together and made this awesome collaboration of magic. We’re really stoked to see what people think about it,” Parrish said.

During the year and a half they’ve been playing music together, the group has created a unique rock sound. “Our music [has] extremely progressed and we got our signature,” Miller said. Each band member (Parrish, Miller, guitarists Ryan Hinch and Jake Knutson, drummer Jesse Reeves and bassist James Garner) played a vital role in making their EP sound stage ready.

“Music-wise we make sure everyone puts in their stance. Everyone has different stuff: funk, mainstream, experimental, we all [have] our different little traits,” Parrish said. “That’s why we’re glad that everything came together in this EP.”

“Everyone brings their own influences,” Miller added. “What we aimed for is something that a lot of people can relate to.”

Even though the music was just released in the beginning of June, the band has already received positive feedback through social networking sites, gaining more than 4,000 likes on their Facebook band page. And if you decide to like them on Facebook, you can expect to see them interacting with almost every fan through status updates, comments and likes. Even though they are gaining strong momentum in the small city of Lodi, their music is spreading across the United States. The Facebook page tells them that they have tons of fans that live in Seattle who are waiting for them to take their show north of their hometown.

“We would like to take a trip up to Seattle and walk around the streets and see if anyone knows us there,” Miller said.

The band also caught the eye of Jonny Craig, lead vocalist for Dance Gavin Dance, after playing the 2010 Battle of the Bands Ernie Ball stage at Warped Tour. “He came up and talked to us afterward and he was pretty impressed with our set, so that was a nice little booster for us,” Parrish said. Both members agree that they hope to play Warped Tour again but are now focused on prepping for upcoming gigs, including a headlining show at the Ace of Spaces in downtown Sacramento.

“It’s our first show in Sacramento. I think it’s my first show out with the band in Sacramento, besides the Boardwalk,” Miller said.

If you decide to catch their first headlining show in town, be prepared to find yourself jumping around the stage one minute then laughing the next, because these rockers like to act “goofy” on and off stage. They take the music very seriously but seem to go with the flow for everything else that jumps in their way–even when deciding upon their band name, they just chose it as a “safe” name and hoped that it would catch on with people that listened to their tunes. They even joked that they could be called the “Fluffy Farts” as long as it would catch on.

“We paid for a guy to go to Sizzler, and he gave us the rights to the name [In Oceans],” Miller joked. “We just want people to listen to the music really.”

The members of In Oceans are the type of rockers that anyone would want to hang out with and tell a few jokes with after their shows. Especially in their hometown, they chat with fans and eat tacos at the local Jack-in-the-Box. “We sign the receipts,” Miller said. “I’m just kidding, we don’t sign the receipts, but if they want us to sign the receipts we would love to.”

They also like to have fun during their mini road trips to different shows. They play rounds of their own version of a word make-up game, where they improvise and start to rap in the car. “We start to freestyle. It gets insane,” Parrish said. After the band finally arrives at their destination, they have a pre-show ritual of huddling together backstage to get revved up to take the stage. “The whole focus is on playing a good show and keeping the energy up,” Miller said.

“I like to put on a show that we would like to go watch,” Parrish added.

According to both vocalists, “fun, crazy, extravaganza and awesomeness” are a few of the things that a member of their audience can expect from one of their live performances. Residents in Stockton might have caught them playing a high-energy show at one of their favorite venues called Empire Theatre, an old movie theater that houses film screenings and live shows. But outside of local venues, they hope to place their music in as many ears as possible. “Hopefully something crazy happens with it because it’s something everyone definitely needs to hear,” Miller said. “We love anyone and everyone that listens to our music. Come out to a show and see; it’s going to be a party.”

In Oceans’ new EP, Earthwalker, was released June 1 and can be purchased on iTunes. If you’d like to keep abreast on the band’s latest happenings, or maybe find out where they’re eating tacos, friend them on Facebook at Facebook.com/inoceansband.

Behind the Music

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.

Face Value

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.

Local music fans may also know Craig for more infamous reasons. He also served as co-vocalist for local groove-heavy screamo heroes Dance Gavin Dance—a group that Craig left on bad terms. In our 2008 interview with the band, Dance Gavin Dance’s then co-vocalist Jon Mess (also no longer in the group) said of Craig, “We just couldn’t get along with him at all. No one in the band liked being around him.”

That was some time ago, however, and both parties have moved on. In fact, Craig and Emarosa even toured with Dance Gavin Dance earlier this year. The “Squash the Beef Tour” just wrapped up last month on Oct. 19 in Omaha, Neb. Craig wasn’t too forthcoming about details but he did say the experience was a positive one.

“It was good,” Craig said through spotty cell phone reception from Dallas, Texas. “We’re all good to hang out again, and that’s about it. It wasn’t awkward.”

Despite the messiness of his break up with Dance Gavin Dance, Craig also said that he wasn’t surprised to tour with them again—albeit as part of a different band.

“Nobody holds grudges in the industry that we have,” he said. “You can’t just hate somebody forever.”

With the past behind him, Craig is on the road now with the equally talented Tides of Man serving as his backing band. These are just his first string of dates as a solo artist; however, Craig and company have gotten off to quite a start. Craig played his first solo show in support of Northern California punk legends AFI.

“It sounded good, but everyone was really nervous because we’d only practiced once,” he confided.

Despite these auspicious beginnings, Craig said he is looking forward to building his new endeavor from the ground up.

“It’s a little harder to do a solo band, because you have to start over, so I’m not going to be drawing 200 or 300 kids like Emarosa or Dance Gavin Dance would, because no one’s going to hear about the show,” Craig said. “But it’s still fun to go back and do shows like you were doing when you first started playing.”

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.

Don’t Forget to Brag

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The Sweet Brag Tour w/ The Devil Wears Prada, A Day to Remember, Sky Eats Airplane, Emarosa
Club Retro, Orangevale | April 19, 2009
Words and Photos By Russsell Wonsley

Club Retro has not seen or felt such a concert for sometime. Before the show, a line of kids wrapped around the building and then continued onto the back of the church’s property. All of them to soon witness the chaos that would take place within the walls of the venue. Crammed against the newly added barriers, the kids waited for the show to begin.

There was almost a nervous chatter among the crowd of people. No one knew what to expect of such a dream team lineup the Sweet Brag Tour had to offer. Suddenly the lights dimmed, and the men of Emarosa took the stage. Leading the group with his recognizable voice, Jonny Craig started off the show with a great quality performance. Warming the crowd with songs such as “The Past Should Stay Dead” and leaving them wanting more with the song “Set It Off Like Napalm.”

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Next to take the stage was the electronic-powered band Sky Eats Airplane. The band brought with them more of a hardcore sound that would continue into the rest of the night. With high stage jumps, Jerry Roush got the kids to start moving within the depths of the pit.

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A Day to Remember were next to the stage for an anticipated performance.
They dropped their third album (and fourth overall) with Victory Records, Homesick, just about a month ago. It seemed as though the crowd had already caught on to the many gang vocals that the record contained. With beach balls flying into the crowd, ADTR took the stage playing the first song off the new album “The Downfall of Us All.” Jeremy McKinnon (vocalist) took control of Club Retro with his catchy lyrics and overwhelming stage presence. In addition to new material, the band pleased the crowd with classic hits such as “A Plot to Bomb the Panhandler” and “Why Walk on Water When We Have Boats.” Nearing the end of their set, Club Retro had become a sauna of sweaty teenagers.
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Exhausted from what ADTR had just thrown down, the bustle of crew members preparing the stage for what everyone had gathered for beckoned the audience to reach back for more energy.

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It looked as though the new label has been taking care of The Devil Wears Prada, as the stage was littered with professional lighting. The set opened with just purple ultra violent lights that casted an almost solid column of light up into the ceiling. The scene was chilling, as the battle was about to break out between good and evil.

It all began out of nowhere. The Devil Wears Prada took the stage and without wasting a second Mike Hranica pulsed the crowd with his heroic growls; he held the energy of the stage in the center. To his left fellow gutarist Jeremy DePoyster sweetened the songs with his soft harmonizing choruses. You could feel the whole band in tune with one another as they pummeled the venue with breakdowns and grueling guitar riffs. Playing every hit song from both records, the band even treated Club Retro to a new song from their upcoming album With Roots Above and Branches Below titled “Dez Moines.” Fans stretched out to the stage hoping that this would bring them closer to the madness.

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Also check out our interview with The Devil Wears Prada

Dance Gavin Dance

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.

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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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