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
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.
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.
Tides of Man are ready to spread their music to the masses
Sometimes the best things in life happen spontaneously. Two strangers bump into each other and end up falling in love; a lunch break spent in a new café opens up an unexpected career opportunity; a stray dog or cat wanders into your yard, and two years later you’re inseparable. The things we don’t plan for end up being the most meaningful. Such is the case for Tampa, Fla. based progressive rock band Tides of Man. In December 2007 the talented young group of musicians—Tilian Pearson (vocals, guitar), Spencer Gill (guitar), Adam A. Sene (guitar), Alan Jaye (bass) and Josh Gould (drums)—convened on a whim when Jaye booked a show before the band even had any material together.
“He decided to randomly book a reunion show,” Pearson recently shared with Submerge, referencing an old group that some of the members had played in prior to Tides of Man. “We just wrote new material and played adapted versions of material from their previous band.” Three of the songs from their recent full-length debut, Empire Theory (out now on Rise Records), were actually written during that 10-day dash to prepare for the first show. If it wasn’t for the spontaneous last-minute decision to play that show, Pearson pointed out, the special chemistry that exists amongst the group might not have been discovered so easily.
“I knew it immediately,” Gill said of the band’s unique chemistry. “When Tilian first came in to play with us he just started singing the lyrics, I don’t even remember which song it was, but I was like blown away.” The rest of the members agreed that they knew they were onto something “special” as soon as Pearson stepped into the picture. The young vocalist has a rare talent indeed, and has frequently been compared by fans and critics alike to such frontmen as Anthony Green of Circa Survive, Claudio Sanchez of Coheed and Cambria and Cedric Bixler-Zavala of The Mars Volta, three of the most notable voices in the genre. The comparisons to such great bands are welcomed by the members of Tides of Man. “I take it as a compliment no matter who the band is, even if it’s a band I don’t personally listen to,” said Sene.
“Different people who come from different parts of the world who grew up in different environments will make their own comparisons,” Pearson elaborated humbly. “A lot of the times the comparisons made are above where I think our music is.”
The truth is such comparisons are well deserved. Empire Theory mixes all the ingredients of a buzz-worthy indie release into a delicious concoction of dynamic, well-formulated songs with smart, meaningful lyrics. Parts of “Not My Love” and the title-track clearly resemble the highly rocking, raw, early work of Coheed and Cambria (Second Stage Turbine Blade); “Western Scene” boasts impressive soaring vocals similar to those found on any Circa Survive record (especially Juturna); and “Rescue” has the tripped-out, almost ugly (but in a good way) parts that The Mars Volta have made such an integral facet of their sound.
The album’s title is inspired by a quote from French philosopher Charles de Montesquieu that goes, “An Empire founded by war has to maintain itself by war.” And according to the group, Empire Theory is a concept record (much like many of the aforementioned bands’ albums), about forgiveness and uncompromising love. “I came up with the story line pretty much right after I saw the movie American History X,” said Sene.
“Just basically the whole, ‘tragedy and chance to forgive’ kind of idea inspired it,” Pearson interjected.
The band enlisted producer Matt Malpass (who has worked with such artists as Copeland, Relient K, Manchester Orchestra and Lydia) to man the knobs at his home studio in Atlanta, Ga. Pearson said that as soon as he heard Illuminate, the Lydia record that Malpass produced, he knew they had to record with him. They spent a total of four weeks recording with Malpass and made it clear they would have loved to have spent even more time there. “It was an awesome house,” said Sene. “It had a very retro look to it. It was a cool place to be while making a record.” Pearson chimed in with, “Yeah, we felt like badasses in there.” That confidence clearly shines through on Empire Theory, where Tides of Man holds nothing back on an impressive debut.
Let’s review, shall we? Incredible melodies (without the assistance of auto-tune) from a talented vocalist? Check. Smart, well thought-out lyrics? Check. Solid, captivating instrumentals? Check. Deep, profound concept record? Check. Literally all of the pieces are in place for a successful career. And with a credible business team already built around them including legit management, label backing and booking agents, Tides of Man are ready to share their music with the world. “I would say the long-term goal is to get as big as possible,” Sene joked. Then, laughing, “I might as well just say it, ‘to be the biggest band ever!’ How realistic that is, I don’t know, but it’s definitely worth a shot. Set it as your goal and shoot for the stars.”
Tides of Man is currently out on the “Squash the Beef Tour” with Emarosa and Sacramento’s own Dance Gavin Dance. The tour, which also includes the bands Of Mice and Men and Of Machines, will hit the Boardwalk in Orangevale on Saturday, Sept. 26. The band played Sacramento for their first time this summer alongside A Static Lullaby and Gould remembers it fondly. “We had a group of five dudes who traveled for like three hours to go to that first show in Sacramento,” he said. “They said they were from somewhere on the outside of San Francisco. We didn’t know anyone out there even knew who we were.”
