Page 1




09 06 09 15 17 22 28 32


La Dispute photo: Kevin Ludwig Here

Tigers Jaw photo: Danielle Parsons

Interviews/Design: Adam Sever Correspond: P.O. Box 1616 • Monticello, MN 55362

ALGERNON CADWALLADER Interview with Peter Helmis • Photo By Danielle Parsons Whenever I read something about Algernon Cadwallader, the writer usually mentions your sound being similar to Cap’n Jazz or other Kinsella related projects. Do you think that your popularity was somewhat due to your likeness of Kinsella related bands, i.e. Cap’n Jazz and American Football? There are definitely people who thank us for reviving something they "missed out on" and some that thank us for playing music they just miss. We fall into the "missed out" crowd ourselves which is part of the reason we sound the way we do.


Are you getting tired of the comparisons to those bands? I remember a sound guy at one of our old band's show telling me we had a sort of "Cap'n Jazz thing going" and being totally stoked! The stokedness has worn off. Are you surprised by the attention the band has been getting? No way. We rule. How do you feel about having to reprint your demo and full length? Running out of a pressing is definitely a goal when you're putting out records. We're

very happy we're able to do that. Literally having to print all those 7" covers is pretty exhausting.

listening to. We'd like people to smile because they're having fun.

The vocals and guitar play such a integral part of the songs, how do the songs come together? We usually write stuff pretty on the spot. Then we jam the songs to death and they get more and more intricate. The vocals come last. I like to see how the song ends up and put the words to that.

The majority of your songs average about 3 minutes in length, but the closer on Some Kind of Cadwallader is just over thirteen minutes, what was the reasoning behind the length of “In Response to Irresponsibility�? First and foremost we're about writing short poppy songs to bounce around to, but we also like to jam and improv stuff, live and at practice, so this song is basically a studio version of that. We recorded it ourselves, so we were comfortable enough to just play and piece it together over time.

Your music has a certain fun and uplifting energy to it, is this what you are trying to convey with your music? What do you want people to take away from your music? I wouldn't say it's pre-meditated, but we like it when it turns out like that so I think we lean towards that a little bit. There is a lot of energy in our music because that is what we grew up


Explain a little bit about music scene in Philly and what bands everyone should check out? Philadelphia is a petri dish for music. It's sick! The scene is so diverse and there are so many cool venues that open their doors for local and touring bands from basements to living rooms to bars to churches. There are so many good bands and labels it's overwhelming at times. Even The Dead Milkmen are back together and playing shows! And consider all this an understatement. Amongst 100 bands you should know about, a few I've been excited about recently are Reading Rainbow, Joe Jack Talcum, My Mind/Eat Forever, Boys & Sex, Snowing, Magnet City Kids, and Bandname. I’ve noticed lately that quite a few bands are playing this early emo sound, why do you think that is? I think it's just coming back for a second wave like everything else does. We're reaching the 15 year mark since this music's height in the 90's and everyone saw what happened to "emo" when it went commercial so now it's back to it's roots. Mall Metal is next. For a band your size, how did you end up getting your album distributed all over the world? Serious DIY elbow grease by Be Happy Records CEO Craig Woods. This was a goal of his when he first decided to put our CD and he nailed it. You could do it too. Is the Hot Green 7”/CDEP that’s coming out this summer the same as the version that has been floating around the web for the past few months? What are the extras that come on the CD? Yea, I leaked it by accident. It's been done for a while and there was lots of debate on where we were having it pressed and other issues like that so that's why it's not out yet. The extras are just stuff we had laying around that we thought would make the release a little more interesting. You’ve played your fair share of basement shows, do you enjoy playing basement shows over ones at a venue? In a word, yes. To debate the two, basements shows are probably the most fun things ever. On the downside, there is a limit to how many people can have the most fun at them and usually some sort integrity is lost in the sound quality and accuracy of the performace. Bars/venues/etc usually give us a chance to showcase our stellar musicianship more, but will never ever match the kind of energy you feel if you're up front in the basement. Since Tank broke his leg skateboarding during a tour last year, is he going to be taking the shred stick along on tours this summer or will he be taking it easy? Tank has vowed to never place his foot upon a skateboard again. He was drunk when it happened. From now on he will concentrate on being drunk. What can we be expecting of Algernon Cadwallader in the future? You can fully expect a new full length and a European tour this year. Then hopefully we can make it to the west coast of the states. Beyond that just expect us to be awesome dudes forever.



Lemuria // Off with their heads Cloak/dagger // the brokedowns Young Widows // Paint it black


Lemuira Jason Draper For people who don't know, describe in your own words that the Fest is? For us, the Fest is the punk rock/underground indie family reunion. People we know from all over the world travel to Gainesville for a weekend of nonstop fun. A lot of the times it feels like the music is secondary. How do you think "The Fest" is different than other fests? The fact that it is spread out over several venues helps people from not getting burned out staying at one place for so long. Also everyone is so happy and just wants to hang out with each other. You don't get that at the other bigger fests. Give me one good story, experience, or recollections on this year's Fest. The highlights of the fest for us were definitely playing Books About Miles Davis with The Ergs! and watching people lose their shit over Cheap Girls. What makes the Fest so appealing to play? Friends. Friends everywhere! How was your time spent when you weren't playing? It was spent running around to see all the bands we wanted to see, but then running into people we knew and stopping to hang out, in turn missing a lot of bands. What would you say is one band that every other band wants to see play? I think that band this year was Leatherface. For the future I'd say Dinosaur Jr. If that could happen, kids would lose their shit...well at least we would.


Off with their heads Ryan Young For people who don't know, describe in your own words that the Fest is? A bunch of fat, drunk bearded dudes on the path to diabetes having a weekend long party at a bunch of bars. How do you think "The Fest" is different than other fests? Not sure. Im not a huge fan of any of them, so I guess I could say that you are guaranteed to be sick the week after the FL one. Give me one good story, experience, or recollections on this year's Fest. I saw some shitty band that sounded like Soundgarden, then went and wound up doing shots with my long time rival, Brendan Kelley. What makes the Fest so appealing to play? The one good thing is getting to see all the people that you meet across the country over the course of 3 days. How was your time spent when you weren't playing? Kicking it with my lady and sleeping. What would you say is one band that every other band wants to see play? Not sure, really. I keep hearing things about this Gaslantern Anthem band, but I dont get it.

Cloak/Dagger Jason Mazzola For people who don't know, describe in your own words that the Fest is? Every band ever playing the same city all at the same time for three days straight. A lot of people hugging, throwing up, happy and drunk. The music is secondary to the hanging out with old and new friends that are all at the same place the same weekend. How do you think "The Fest" is different than other fests? Anything can happen there. The biggest band there could play a house show or a secret show and it's not that shocking. The shows are all at different places so you don't get tired of being one place all day. There are also a lot of different kinds of bands there so you don't get sick of hearing the same song all day. Give me one good story, experience, or recollections on this year's Fest. This year we drove all night from Alabama to get to our show on time. We didn't sleep, pulled into a parking lot at 8 a.m. and were sleeping like babies. The air outside was a perfect temperature and out of nowhere our van gets side swiped by someone trying to pull into the space next to us. I look up, he drove off and a girl in hot pink pants looked at me, laughed and said "oops"! A bad way to start the day but we loved playing. What makes the Fest so appealing to play? It's a good chance to play to all the people that kind of want to see your band but can never make it out and the people that already like your band to see you at the same time. It's almost effective as doing a week long tour to play to all those people at the same time. Add that to seeing bands you like and you can't go wrong. How was your time spent when you weren't playing? Walking up and down the street looking for food, coffee and standing in line for shows. What would you say is one band that every other band wants to see play? Municipal Waste. I'm proud to say they are from Richmond and seeing them twice in the same week made me love them. They always rule and everyone knows it.


the brokedowns Kris Megyery For people who don't know, describe in your own words What the Fest is? The Fest is 3 or so days of wandering around shamefully drunk watching bands with friends and making new friends. I'd like to say something really catchy like "It's all about the music maaannn" but it's really about "kicking it" which happens to be what we love to do more than anything. We just so happen to be connoisseurs of "kicking it" and as far as we've found the Fest has the finest "kicking it" on the globe. How do you think "The Fest" is different than other fests? There are tons of differences but the one we savor the most is the obvious higher quality of "kicking it". If South by South West's "kicking it" is Pacific Lobster then THE FEST's "kicking it" is Maine Lobster huge and juicy and tons of claw meat. Give me one good story, experience, or recollections on this year's Fest. I was walking to a friends house late saturday night after Shark Pants played @1982 and in the opposite direction I heard what sounded like a house show. I had no clue where I was so I followed the music but by the time I found the "house show" I was completely lost and alone and that "house show" happened to be 4 scary hillrods listening to DISTURBED on their porch. I was way lost so I had to be navigated back to the house through cell phone and I was told the next day I was very difficult. What makes the Fest so appealing to play? It's like a fun little city that is run by people exactly like you for 3 days. Of course by day 3 every bone in your body hurts and you realize you and your friends aren't cut out to run a town. How was your time spent when you weren't playing? Watching bands and kicking it. I went swimming a few times too, but I guess that would fall in the kicking it category. What would you say is one band that every other band wants to see play? Hands down The Arrivals. We played at the same time they were playing and I would say at least 50 people apologized in advance to me for having to miss us to watch The Arrivals. We were even trying to figure out a way we could catch some of their set and we toured down with them.


Young Widows Nick Thieneman For people who don't know, describe in your own words that the Fest is? The Fest is the best chance to see a ton of bands within a few blocks of each other. Bring sneakers. How do you think "The Fest" is different than other fests? It gives such a drastic variation of bands that anyone can find new music to experience. Give me one good story, experience, or recollections on this year's Fest. We walked around with the Suicide Note dudes on Halloween watching the mix between "Festers" and the Locals. Shared some laughs, saw some fights and then went and lifted weights... well some of us did. What makes the Fest so appealing to play? It's pretty much the reason we go to Florida. They treat us well and the turnout is always perfect. Who can ask for more? How was your time spent when you weren't playing? Well, watching other bands. We had a lot of friends in town playing and we tried to make it to every show we could. What would you say is one band that every other band wants to see play? That's an impossible question.


Paint it black Dan Yemin For people who don't know, describe in your own words that the Fest is? It's what I look forward to all year, starting the day after it ended the year before. It's too many good bands to mention, playing for the most part in cool venues, for 3 days of total bat-shit craziness. It's the brainchild of insane party-monger Tony Weinbender. It's the stuff myths are made of. How do you think "The Fest" is different than other fests? It actually feels like a family reunion. Give me one good story, experience, or recollections on this year's Fest. We played out of the back of a U-Haul on Friday night/Saturday morning. It took 15 seconds for the generator to get moshed on and subsequently destroyed, and we finished the next song and a half with just drums and a crowd of about 800 kids singing along. The cops broke up the whole thing in 6 minutes. People stage dove off the top of the truck. Crazy!!! But Fest is also walking around at 2 AM trying to find the house party where the female-fronted Replacements cover band is playing and you're trying to cobble together directions from various text messages you're getting from various people in various stages of inebriation, and who knows if the party even exists or if its the result of a series of misunderstandings and when you get there it's not a female-fronted Replacements cover band at all, but some singer/songwriter lady with an acoustic guitar playing under a christmas tree but that ends up being cool too. And latenight afterparty warehouse shows with Shook Ones. You have to include this whole answer or I withdraw this entire interview. What makes the Fest so appealing to play? See the answers to the last 3 questions. It should be obvious. It reminds me of why I became a punk in the first place. It really feels like you're part of something larger than you, and its something significant. How was your time spent when you weren't playing? Either watching other bands, trying (and failing) to squeeze in quality time with all the old friends that are in town, desperately seeking food and coffee, and doing other things that I don't want to encourage people to do. Not sleeping, that's for sure. What would you say is one band that every other band wants to see play? Dillinger Four



Interview with John Galm, Ross Brazuk & Nate Dionne // Photos By Kevin Ludwig we try to structure things a lot more, focusing more on the song as a whole as opposed to just how certain parts sound by themselves.

Snowing features ex-members of Street Smart Cyclist and Boy Problems, what happened with SSC and Boy Problems that got you to where you are now? Ross - SSC sort of just fizzled out. We tried to forge ahead after John quit, but that, plus nearly all of our equipment getting stolen out of our van in North Carolina took the wind out of our sails. At some point during the summer after that happened, Nate and I sort of decided simultaneously that it was probably better to just lay it to rest so we could do other things. Those other things ended up being Snowing. We decided who was handling what instrument, and picked up JR, who I grew up with, and off we went.

As regarded as Street Smart Cyclist was, has having ex-members of that band helped get the word out about Snowing better? John - Absolutely. SSC had a lot of internet hype. being ex-SSC was definitely fundamental in anyone giving a damn about us. We don't mind. We're all proud of what we did in that band.

Are there any big differences playing as Snowing as opposed to playing with SSC and Boy Problems? Nate - I'd say there's definitely a lot more communication. and responsibility. As far as writing goes,

Ross - I think it definitely helped, but I definitely didn't want to announce it at every opportunity. This is a new band, and as proud as I am of what we did in SSC, I want it to speak for itself. I'm glad we got to at least let people who were into our old

Ross - Totally agree with Nate, Snowing is a whole lot less dysfunctional in general. We tend to get things done pretty efficiently, which is encouraging.


bands know that we were doing something else, and they could check it out if they were so inclined. I read that you like The Promise Ring more than anything any Kinsella has done, are the "Buh da da da da's" in the song "Sam Rudich" a nod to The Promise Ring's song "Why Did We Ever Meet" which has a similar part? John - No, it's actually a nod to Latterman, not in the particular part, but just in the sense that growing up in the LV, we saw Latterman a lot after No Matter Where We Go..! came out. Since then, sing along parts have always been a must. Ross - I think that Kinsella remark was sort of a snap reaction to a comment about us just ripping off Kinsella bands. I do like the Promise Ring more than Cap'n Jazz, or Owls, etc..., but with that said, Braid is my favorite band. Please accuse me of harmless Bob Nanna worship instead. Do you think people are quick to label bands as Cap'n Jazz copycats just by what they sound like? Nate - Yeah, people are way too quick to do that. To some degree, I think it invalidates a lot about a band, and that kinda sucks, but what are you gonna do? Ross - I definitely think that. It's totally hard to shed that comparison, too. I don't really listen to Cap'n Jazz at all anymore, as great as they are. So it's sort of frustrating to me. What are Snowing's main musical influences? John - The Boss. Our friends bands. Ross - Totally the Boss. Also Superchunk, Archers of Loaf, Pavement, Braid, At the Drive-In, June of 44, Latterman, shitty pop punk, blah blah blah. Just stuff I like. What is the music scene like in Lehigh Valley, PA? John - The scene is sneaky as shit. One month you'll swear it's dead, and then you'll go to a packed basement show where every person there is stoked and singing along to every band and you remember why you love it here. The only real problem with the scene is that youth tends to flock to places like Philly and NYC, which isn't a terrible thing, but it puts a strain on how incredible the LV really could be.

Ross - John pretty much nailed it. I grew up going to shows with the best people. The younger kids are really awesome too. I love the Valley. What are some other bands from the area that everyone should listen to? John - Yo Man, Go! is a band again, so I'm saying Yo Man, Go! Ross - Other than Yo Man, Go!...Slingshot Dakota (Tom is from the Valley), Pissed Jeans (although they moved to Philly). Pop-punk legends Digger and Weston were from the Valley. Should've probably listed them as influences too. Snowing is currently unsigned, are you looking for a label? John - No. Anything we need to do right now, we can do ourselves. If someone else wants to be involved, that is incredible, but we'd rather establish a trusting relationship with someone helping pay for a record than someone we are forced to trust through the means of our signatures on a document. Ross - Not at all. Like John said, we can do this stuff ourselves. It’s what we've grown accustomed too, and become comfortable with. I'm not sure how quick I'd be to entrust anyone but the 4 of us with anything involving the band. Is being signed to a label as important now as it was in the past? John - I don't think so. Insert the same "because of the internet" answer that every band gives for this answer. It's typical, but it's true. Ross - I think its approaching zero importance. I think there's a huge paradigm shift for the "music industry" on the horizon, in that it just won't exist. At least not as we know it. I'm pretty into it, but I hope that vinyl survives, so the smaller, independent labels can keep doing what they're doing, without becoming glorified digital download websites for their bands. You released the Fuck Your Emotional Bullshit EP online for free, why are you releasing it as a 7"? Are the songs the same or are you re-recording them? John - Having a physical copy of something you enjoy is important. I think that it is still a sentiment


that most people in the punk/hardcore/emo community still understand and hold true, so just because people downloaded the mp3s doesn't mean they won't want a physical document of it. Ross - Exact same songs. We just wanted anyone who wanted our songs to have them. We also realize that there are a lot of people (ourselves included) that like to own physical copies of music they like. Vinyl is the best medium to own music on if you ask me. The CD is going to be completely gone in a few years. Every time I walk into a bigger store that sells music, the CD section seems to have shrunk from the last time I'd been there. I feel like most music is going to be released either on-line, on vinyl, or a mixture of the two. Since you released the EP online for free, what are your thoughts on file sharing? John - I do it often and I think it's a useful tool for discovering new bands. The sooner you discover a band, the sooner you support them by going to their shows, buying their records/merch, and letting them crash on your floor. Ross - I discover tons of bands via file-sharing. I'm totally cool with it. That being said, I'm in a band that is giving their songs away, and I'm not looking


to make this a career or some shit. I think "music industry" people think file-sharing is a huge problem, but I think the problem lies in the complete crap being released by major labels especially these days. I'm not trying to pay 14 bucks for 2 good songs, and 8 hunks of crap. You are releasing a limited cassette tape on your tour this summer, what made you decide to use the cassette tape format instead of Vinyl or CD? John - Tapes are aesthetically pleasing to me. They just coincide so well with the limited resources that the punk/indie rock community are supposed to have. They come off as a bit exclusive today, yes, but the reverting to such a dumb format kind of brings a new charm to it, especially in an age where everything becomes more and more digitized. I love buying tapes from bands because you know you are getting something special, something very specific to that tape. CD-Rs don't carry the same sort of appeal, and 7"s just take too much time and money to produce. Tapes are the great equalizer. Ross - We definitely didn't have the financial resources to put out a tour 7" on top of the other 7", but we wanted something a little more legit than some sketchy CD-R's we burned the day before we left for tour. Tapes are cool anyway, right?

Any word on what the super special surprise is for Side B? John - It's a bummer Bruce Springsteen cover. We love The Boss. For those not on the tour route, how can they get ahold of one of those tapes? John - After tour, any tapes not sold will be for sale online, and all three songs will be available for free. Ross - If we have any left after tour, I'm sure you'll be able to get a hold of one when we get back. Maybe we'll give them to distros so we don't personally fuck up anyone's internet orders. We'll most likely post the songs for free at some point as well.

You have a tour planned for July, are you doing any other touring this summer? Any plans for a full length? John - We just hope to play a lot of shows and continue to grow as a band. As far as a full length goes, we're already writing for it, but it probably won't be recorded/available until 2010. Ross - I think that July tour will be it for the summer, but I would think we'll be planning something for the Fall or Winter. Maybe we'll do a weekend jaunt or two before then. We would love to do a fulllength. We talk about it from time to time, but we'll cross that bridge when we come to it. It's definitely something we are planning on doing, though.

Download the Fuck Your Emotional Bullshit EP for free at If You Make It. fuck-your-emotional-bullshit/ 19

THE VAULT * TWO FIRST AVE NE * BUFFALO, MN 55313 * Interview with Bobby Olson You and your business partner Tim originally opened The Vault. When did it first open and why did you decide to open an all ages venue? I can't really answer on behalf of Tim, but I worked at an all-ages music venue called the Segue Cafe before The Vault. After the Segue ended, I was planning on buying the Java Joint in St. Cloud; during the process of buying the Java Joint I heard about this guy opening a venue in Buffalo. That's how I met Tim and became the owner of a music venue in Buffalo. It's a much longer story, but that is the short version. What were some things you learned at Segue that you've applied or stayed away from in running The Vault? I learned a lot at Segue, I learned how to book good shows, and how to keep good flow of a show.


What happened with Tim and why’d you decide to keep running The Vault by yourself? Basically, there was a lot of miscommunication between me and Tim and he thought he was getting screwed; in reality, The Vault just wasn't making any money at the time. We both owned half of The Vault's sound system and on a day of a big show he decided to screw me over and take his half out which left me with an unusable sound system; consequently, I had to run to Guitar Center that day and buy $3000 of sound equipment. I kept running The Vault because it has always been a dream of mine to run a music venue. In May '09 I finally payed off my debt and began making a profit on it.

You’ve had plenty of difficulties in keeping The Vault open, can you explain some of them? What have you learned from running the Vault? The Vault wasn't making any money, and we had cops patrolling every show. Anything and everything that could have gone bad, did. Buffalo, MN is roughly 40 miles west of Minneapolis. With its out-of-the-way location, why was Buffalo chosen for the location of The Vault? Would you ever consider relocating? I didn't choose this location... I never intended to have people from Minneapolis come to shows in Buffalo. It was intended for the suburb kids who had to drive 40+ miles to Minneapolis to go to shows. I have considered relocating many times, but I don't have that kind of capital. The Vault’s location is roughly halfway between St. Cloud and Minneapolis, do you get people from both areas attending shows or is it people who live closer? Attendees at The Vault are from all over the state, many from Alexandria, Minneapolis, Buffalo, and everywhere in between. All-age venues have struggled to survive and failed in big cities like Minneapolis and St. Paul. What makes you think that the Vault will survive and be successful? I know how to put on successful shows. How has the poor economy affected The Vault? It has affected it a lot; many parents got laid off and didn't have money to give their kids for shows. From the looks of your schedule, The Vault appears to cater mostly to hardcore/post-rock/metal bands. Are you opposed to having other genres play at the Vault? The Vault has all styles of music play here. We have acoustic shows on a regular basis, techno-pop, and even rap shows. What is the average draw for a show at The Vault? Which bands usually draw the biggest crowds? There is no average draw for shows at The Vault. They all draw differently depending on who is playing. For Today and For the Fallen Dreams (mostly For Today) draw the biggest crowds. You’ve had some fairly well known bands play at The Vault, and you are a big supporter of local music with many local bands playing there. Have you encountered any problems trying to get some of the more wellknown national acts to play The Vault? There are always struggles, but 98% of the time it isn't a problem. For parents unsure about sending their kids to a show, what kind of environment has the Vault established? The Vault is drug free, alcohol free, and many kids that attend shows have these values, and have incorporated them into their lifestyle. The Vault promotes positive lifestyle choices such as living drug free. What are your hopes and plans for the future of The Vault? I hope to get it hyped up a bit more and have more kids come.



Somewhere at the Bottom of the River Between Vega and Altair uses a Japanese folk tale as the base for the lyrics to jump off from. Can you briefly explain the folk tale? Why did you choose this particular folk tale to draw from? How does this folk tale relate to real life situations? The title of the album is derived from a folktale that discusses the life and plight of a young princess whose talent for weaving garments brings her father and his kingdom great notoriety. However, as a result of her unceasing dedication to the loom, the princess is unable to enjoy the life afforded to most youths (for instance, she is never given the opportunity to fall in love) and, as a result, is stricken with unshakeable grief. Seeing this grief, her father feels great remorse and introduces her to a young shepherd, with whom she falls desperately in love. However, in immersing herself in her newfound love, she neglects her weaving, which upsets her father. Thusly, he separates the two lovers--placing each on either side of the river. Only on one day of the year (the 7th day of the 7th month), the two are allowed to meet. However, if the king is not sufficiently pleased with the princesses work, he floods the river, and they are unable to cross. The story struck me initially because of its similarities with an experience that had occupied the better part of the last 5 years of my own life. At the time when the title was conceived, and, to an extent, when the album was written, my own relationship was still a very relevant issue in my life and, accordingly, my creative output. However, as the process evolved, and as other aspects of life began to gain importance, the title became less about me, and more about experiences that each person endures. To be specific, we're all confronted with distances, obstacles, etc (rivers, if you will), that prevent us from fully obtaining the contentment we deserve. The idea was to explore what it is about those "rivers" that prevent us from crossing.

It seems like a lot of planning went into writing and recording Somewhere at the Bottom... , how long did the whole process take? Was the end result what you had imagined it would be when you started? All in all, the process took about 9 months (give or take a few weeks). And yes, a considerable amount of planning when into it. At the outset of everything, I'm not sure any of us could've possibly imagined what the culmination of the work, planning, recording, etc. would be, but, we're very pleased with how everything turned out. I read in an interview that three of the songs on Somewhere at the Bottom... were specifically linked together, which three songs are linked and what were your intentions of doing so? The songs "New Storms for Older Lovers," "Last Blues for Bloody Knuckles," and "Sad Prayers for Guilty Bodies" collectively dramatize a story about a divorce involving two related couples. The story itself (based partly on actual events) seemed far too complex and delicate to limit to one song, thus tackling it in three parts. As far as structure goes, each song represents a conversation between different parties involved in the divorce. The intent was to dictate each persons perspective in the story and to allow the listener to evaluate who, if any, was at fault. Mostly, I didn't feel that I could in confidence do say, and I didn't want the songs to be condemning, so presenting each aspect of the story (as unbiased as possible), seemed the most appropriate way to do so. The song "Andria" is so detailed and conveys so much emotion that it almost sounds like a first person account. Were the lyrics for "Andria" inspired by real life experiences? Haha. Very much so. Perhaps too much so, even. I could maybe go into this a pinch deeper, but I'll leave it at that for now. The lyrics on Somewhere at the Bottom... are often lengthy, non-repetitive and are sung with such quick delivery. How do you remember all the lyrics? Do you ever forget lyrics or stumble over the lyrics? Haha. Probably the best tool for remembering the words is the laborious process by which they're written. My writing process, for this album in particular, was nauseatingly repetitive, so by the time I'd completed the lyrics for a song, I'd already had it memorized. Put that together with the recording process and it's all burned into me. Probably forever. Having said that, I do sometimes forget/stumble over lyrics. Mostly little things, but sometimes...sometimes bigger things. Again, I giggle.


How do the songs off Somewhere at the Bottom... convey to the live show? Are you performing the twelve minute song "The Last Lost Continent" live? I think the songs represent the live show very well. We put a significant amount of emphasis into playing our songs as tightly as possible, and an equal amount of emphasis into recording our songs well, but organically. There's some instrumentation on the recording we felt necessary as songwriters that we've only really attempted in our hometown, but other than that. And yes, we are playing "TLLC" live on occasion. But only on occasion. It’s a handful. Will future full lengths use the same theme based starting point as Somewhere at the Bottom... did? I'm sure portions of it will carry over, but of the most part, it should be a whole different ball game. We're all very much interested in pushing ourselves into new territory--both musically and lyrically--so that'll definitely reflect in our next release. Ideas are already in the works. Somewhere at the Bottom... has been getting many positive reviews, are you at all surprised about how the album is being received? We'd probably have to all field this question separately to get an accurate response, but I'd say for the most part that we are. Mostly, we're just flattered. We put a lot of work into it over the last year or so, so it's awesome to see a (mostly) positive reaction to the fruits of our labor; so to speak. You've used references from folk tales to Tolkien's Middle Earth in your lyrics, what other pieces of literature interest you? Oh, man. That's a novel's worth of response right there. In short, yes. Slightly longer, there's a multitude of literature i'm very much interested in. On Somewhere..., there's brief references to anyone from Camus to


Cummings, and very recently I've been reading John Berryman, John Berger, T.S. Eliot, and (most recently, as in today at Borders in Baton Rouge, Khalil Gibran--thanks to Billy from We Are The Living for the suggestion). In addition to the full lengths and EPs, La Dispute has also released a mini CD/R and a 7� vinyl titled Here, Hear I and Here, Hear II. What are the ideas and intentions behind these releases? The Here, Hear mini-CD was conceived as a way of showing our individual influences as musicians and artists. Each member of the band wrote and recorded a song, and, on those songs, they're own distinct playing style, influences, and a lot of their character as individuals is given a chance to show more directly. All of the words over top are taken from pieces of literature that have had a profound effect on me, either for some time or very recently. On the mini-CD, my thought process writing-wise and in general was very fixed on the themes that would later appear on "Somewhere‌" So, the songs on the first "Here, Hear" foreshadow the themes present on the new album. Sometimes very directly, sometimes very vaguely. Examining the works we used for those songs serves as a great way of further understanding the ideas behind the new songs by giving it further context. The new "Here, Hear" features influences that reflect what will very likely be discussed in a later release, and I hope the same idea applies. La Dispute is often compared to bands like At The Drive-In and mewithoutYou. Do you think those bands are a clear representation of your sound? Hmm. No? It's very flattering, we have a profound amount of respect for both bands. But, I'm quite certain none of us really think we sound all that much like either band. My voice is probably the culprit for evoking the mwY comparision, and the fact that we're a "post-hardcore" band of sorts draws the almighty ATDI comparison, but I'm not sure outside of those two things there's much in common. Then again, we'd probably be the worst people to ask. What are some advantages and disadvantages of being a band in Grand Rapids? Hmm. Advantages? We have a lot of great bands here, people are unbelievably supportive and encouraging, we have a multitude of people willing to throw shows and spaces to throw them in, we have an awesome record store, etc. etc. Disadvantages? We're a bit tucked away from the normal show route? I don't know. We like it here. With the economy in a slump, how does La Dispute survive financially on the road? For surviving on the road, you'd be shocked, amazed, and encouraged at the hospitality and generosity that people will demonstrate when you're traveling. Our survival is owed completely to that kindness. Further proof that our existence depends entirely on those around us. That, and lower gas prices help.

The band originally started with Adam, Ben, and Brianna. What brought you all together to form Tigers Jaw? Why did you decide to add 2 more members to the band? Being a three-piece was great, but we knew that Pat and Dennis would be perfect for Tigers Jaw. We had talked about Ben moving to guitar a little bit, and we knew that it would work, it was just a matter of finding the right people to join the band. We had a few different drummers and bassists fill in, but Pat and Dennis were definitely the best fits for the band. Was it always the intention not to have an apostrophe in Tigers Jaw? Yes. The apostrophe makes it look clumsy, regardless of whether it's grammatically correct or not. Your previous full length, Belongs to the Dead, was recorded directly to cassette in one of the band member’s attic. What kind of recording process did you use when recording the selftitled album? The self-titled album was recorded at JL Studios, with Joe Loftus doing all of the engineering and recording. It was obviously more costly than anything we recorded in the past, but it was a necessary step in getting more people to listen to us. How long did it take to write and record the self-titled album? That album is comprised of songs that we had been playing since our first practice. We had about ten songs that were left off the album, so we weren't really pressured into writing new songs or anything, it was just a matter of figuring out which songs should be picked. So, about two years. Are the songs and lyrics a group effort or is there one main songwriter in the group? All of the lyrics are written by either Ben or myself, but we really couldn't sound the way we do without the rest of the band's input. What inspires the lyrics that are written? Are the lyrics taken from personal experiences? I can only speak for myself here, but all of my lyrics are taken from personal experiences.


In the song "I Saw Water" the lyrics sing "My emotions ran unopposed//I felt just like Brian Jones". Who are you refering too? Brian Jones was one of the original members of the Rolling Stones. He drowned under suspicious circumstances in 1969. Why did you decide to re-work and re-record a couple of the songs off Belongs to the Dead for the self-titled album? We wanted our first studio album to be the best representation of the band since it's inception in case anyone was listening for the first time (which, I believe, is the case for most people). We still play a few of our older songs live, and it's not like we're embarrassed by them (although there are a few exceptions), so we had no problem putting them on the album. Even our new recordings will have older songs on them. Your music has an upbeat, happy feeling, but the vocals sound at times almost the opposite. What kind of emotions/feelings are you trying to convey with the music? I think a big part of songwriting, at least for me, is to not be so obvious with my lyrics or music. I don't go out of my way to mix positive lyrics with minor chords or anything, but at the same time I don't want our songs to be so predictable. What do you want the listener to get out of your music? That's not really our call. As long as people get SOMETHING out of our music, we're happy. What bands are influential to Tigers Jaw? When we started, we were listening to a lot of The Microphones/Mount Eerie and Archers of Loaf. I think it's safe to say that a lot of the bands we have played with and befriended, like Kite Party, Three Man Cannon, and Title Fight have had a bigger influence as a whole than anyone else. What other bands has the members of Tigers Jaw been in or are currently playing in? Dennis and Pat were originally in Three Man Cannon, and myself and Ben have been in (and out of) Captain We're Sinking, Bad Seed, and The Green Chair.

Most people would probably associate Scranton, PA as the city NBC's The Office is based out of. What does Scranton offer for a band like Tigers Jaw? Describe the music scene in Scranton. Scranton's music scene is a lot different than it was when we first started. Back in like, 2005, Prison Jazz Records was putting out albums by Okay Paddy (collectively, our favorite band), The Sw!ms, The Green Chair, My Dad is a Dinosaur, and the A-Sides. Now, most of those bands have broken up or are doing different things, which left a little bit more room for bands like us to fill that void. Right now, And The Moneynotes are one of the best bands in and out of Scranton, and I think a lot of people are beginning to realize that. Bands like Captain, We're Sinking and Kite Party are also doing great things, but there really isn't as much going on as there used to be. You recently contributed a song to be featured on the NEPA Skatepark Compilation. What made you want to support this cause? Why wouldn't anyone want to support it? We support anything that gives kids places to go that's not the mall or movies or anything, and we proudly support the NEPA Skatepark's efforts.

Last Halloween you played a cover show where you portrayed The Strokes. How did that show go and what band would you portray if you had the opportunity to do it again? The show went great. We played as Blink 182 the year before. We actually attempted to play as the Steve Miller Band, but that didn't work out so well. We have talked about playing a full Okay Paddy ( set for a while, so that's always a possibility. Do you have any tours planned in support of your self-titled album? Well, our Summer tour was supposed to support our self-titled album, but things didn't really work out that way. We'll be touring once we finish our January/February recordings. You have 2 upcoming vinyl releases, when are they due out? What do you think the importance of vinyl is? Both of those albums should be out by late-Spring of 2009. Vinyl is important because there's more to it than just burning it onto a CD. Releasing an album on vinyl, especially today, shows that we are serious about what we're doing, and we're willing to opt out of the easy way of releasing an album.


Algernon Cadwallader Some Kind of Cadwallader/Hot Green 7” I believe Algernon Cadwallader’s popularity is somewhat due to their uncanny likeness to the musical stylings of American Football, Cap’n Jazz and Tim Kinsella’s vocals. For years people have ached for someone to replicate Cap’n Jazz’s youthfulness and off-kilter music and Algernon Cadwallader has hit the mark dead on with Some Kind of Cadwallader. Some Kind of Cadwallader is not a complete Cap’n Jazz rip-off, these guys have plenty of musical talent and have added their own twist which can be heard on “Motivational Song” and the title track. Algernon’s Cadwallader’s 2009 follow-up, Hot Green, shows the band playing their signature upbeat poppy sound as well as showing maturity with the use of horns and accordions. (Be Happy) Alina Simone Everyone is Calling Out To Me, Beware Everyone is Calling Out To Me, Beware is a cover album featuring the music of Russian cult icon, Yanka Dyagileva, a Siberian punk-folk singer who drowned under mysterious circumstances in 1991. Ukrainian born, but U.S. raised Alina Simone sings the entire album in the Russian language. The music and Alina's voice are pretty good. I can only see people who are a fan of Alina's music or enjoy Russian sung folk, to enjoy this album. Others may be bored with it. (5440 or fight) Andy Shauf Darker Days This young Canadian folk songwriter can sure pen a tune. Each song is elegant and craftily arranged. Shauf show off his abilities by playing every instrument on the album and he doesn’t disappoint. (P is For Panda) Annabel Now That We're Alive Now That We're Alive features 5 infectious indie pop jams. It seems Annabel took a


class in emo history and was influenced by bands such as The Get Up Kids and The Anniversary. Now That We're Alive is a fairly good album, and hopefully they continue with this sound on their next album. (Self-Released) The Appleseed Cast Sagarmatha The Appleseed Cast said that their next album would have less vocals and they weren’t kidding. The opening eight-minute track features vocals for only the last 2 minutes and even then they are sparse. Sagarmatha is a quite good album with a few hits and misses, but sure to please any fan of the band. (The Militia Group) Auxes Sunshine Auxes is the current project of Milemarker/ Challenger ringleader Dave Laney. On Sunshine, Laney played all the instruments and wrote all the music. The sound


on Sunshine is similar to the lighter material found on Milemarker’s album Ominosity but shows Laney's wide range as a songwriter. (Lovitt Records) Banner Pilot Resignation Day Featuring Members of Off With Their Heads and Pyongyang Metro, Banner Pilot’s latest release, Resignation Day, is a testament that good punk is still alive and kicking. With influences like The Lawrence Arms, Jawbreaker and Dillinger Four, Banner Pilot has the skill to continue releasing great punk. (Go-Kart Records)

Bears Simple Machinery At an instant, Cleveland Bears can be grouped together with indie pop bands like The Shins. The opening track, “Please Don’t” is the standout on the album with its driving organ. For a genre that has lasted longer than it should, Bears have put their own spin on it with Simple Machinery. (Self-Released)

Boris Smile Beartooth EP Sounding sort of like Say Hi, with less computers and better instrumentation, Boris Smile’s Beartooth is dark, moody and clever. This band’s full length is definitely being anticipated. (Count Your Lucky Stars)

Braindead No Consequences No Consequences is a raw, ambitious, and diverse hardcore album. It clocks in at just over 23 minutes and is brutal all the way through. You can tell the influences of east coast hardcore like Civ, Quicksand and Turning Point. (Burn Bridges Records)

Bound Stems The Family Afloat I don’t know what Bound Stems did with their sophomore album, The Family Afloat, but whatever it was, it worked. They have grown musically ten-fold since their last album, Appreciation Night and it shows with every song on the album. Highly double recommended! (Flameshovel Records)

Brighton, MA Amateur Lovers Featuring ex-members of The Scotland Yard Gospel Choir, Brighton, MA’s Amateur Lovers is adventurous as it is dour. Some songs have you down in the gutter, while other have you skipping in the sunshine. (Loose Tooth Records)

Call it Arson Mothwash: The Old Flames 7” This two-song 7” is a good introduction to Call it Arson. “There’s a Way To Be On” shows off their heavier side with its crashing cymbals while “Sharpie” shows off their soft, sensual side with its quivering vocals. (Kill Normal)

Bound Stems


City of Ships Live Free or Don’t EP Live Free or Don’t compiles City of Ships’ 2008 Tour EP on Side A and the Live Free or Don't EP on Side B. Both EPs are raw heavy rock with crunching guitars that any metal head would enjoy. (Forcefield Records) The Coast Expatriate The Coast is a Canadian band and Expatriate is their debut full length. They couldn't have done a better job on their debut than they did with this ablum. Each song is good and has a high repeat factor. Once the major indie media gets a hold of this album, this band is gonna blow up. Get in on the ground floor now! (Afternoon Records) The Color Wheels The Color Wheels The Color Wheels are a husband and wife duo that play sugary sweet indie pop rock music. “Green Means Go” is the kind of song that record execs ears perk up to based on its simplistic sing-a-long style that everyone would enjoy. (Viper Bite Records) Driving on City Sidewalks Where Angels Crowd to Listen This Canadian duo plays the type of emo that is quiet then loud kind of like Hum. The vocals tend to get lost in the instrumentation at times but works nonetheless. The title track on this EP is the definite stand out. Unfortunately, the other four songs can’t compare. (Count Your Lucky Stars)

Driving on City Sidewalks


Edie Sedgwick Things are Getting Sinister and Sinister Justin Moyer aka Edie Sedgwick creates some very interesting pop jams that can only be described as Rah Bras meets Barr. It’s arty, complex and damn original. (Dischord) The Evening Rig Is Doin’ Stuff If Never Been’r was their album about breaking up with the girl, then Is Doin’ Stuff is about the new girl. This album is bright, upfront and shows the band doing their best. Jason Miller has a knack for writing great timeless music. (Heart of a Champion) Falcon Arrow S/T Falcon Arrow is an instrumental band from Minneapolis with drums and looping bass riffs. There are no other words to describe this album, other than amazing. The drumming is tight and the bass is inventive, never making this album boring. Their closest brethren in the instrumental genre would be Dianogah due to the similarities in bass work . Each song is in the two to four minute range, which keeps the album from stalling out. A great debut and I can't wait for more material from this band. (Self-Released) Good Old War Good Old War Who would’ve known that a band of acoustic jams and three part harmonies would be so good. This is an excellent album to unwind with that’s perfect for summer. (Sargent House) Joan of Arc Flowers While Joan of Arc’s two previous albums, Eventually, All at Once and Boo Human, were more straightforward indie rock albums, Tim Kinsella and crew’s latest, Flowers, throws the listener a curveball. Opening with a slow electronic pop song, similar to early Askeleton recordings, the album skips onto a piano driven number

Look Mexico

with chant like background vocals. There are glimpses of past JOA recordings throughout Flowers, which hardcore JOA fans will recognize, but even those fans will have to listen to Flowers a few times before it’s completely grasped. (Polyvinyl) Jumpercable EP In just over nine minutes, Jumpercable blazes through all nine of their songs with such ferocity and urgency it would make Gorilla Biscuits and Kid Dynamite proud. It is solid hardcore with old school roots. (Monkey Wrench Records) Junebug Share Share is a well written and perfectly played album of summer jams. Junebug blend influences ranging from classic rock to grunge, with a little bit a funk groove and do it extremely well. The singer has an interesting vocal delivery that fits well with the music. Definitely worth checking out. (Self-Released) La Dispute Somewhere at the Bottom of the River Between Vega and Altair Twelve remarkable songs is what you will find on Somewhere at the Bottom of the River Between Vega and Altair. Jordan

Dreyer’s quick, almost beat poet like delivery, combined with his ability to weave stories with emotion, along with the inventive musicianship of his bandmates makes Somewhere at the Bottom... one of the most engaging albums I’ve ever heard. Do not sleep on this album, pick one up now! (No Sleep Records) Longwave Secrets are Sinister This Brooklyn band is like a more straightforward rock version of The Strokes. Secrets are Sinister is Longwave’s fourth album and it shows that they still have the creativity to write radio friendly pop rock tunes. (Original Signal Recordings) Look Mexico Gasp Asp 7” Gasp Asp shows so much growth from their previous album This is Animal Music. If these three songs are any indication what Look Mexico’s next full length will sound like, than I am giddy with anticipation. (Tiny Engines) The Makeout Party! Lengths and Limits Lengths and Limits takes you back to a time when emo wasn’t a household name


and was still fresh. The Makeout Party’s sound isn’t original but they still have created an listenable release. (Self-Released) Maps & Atlases You and Me and The Mountain Maps & Atlases can do no wrong. This EP is a step in the right direction for this band. Their last release, Trees, Swallows, Houses had more technical, spastic, yet tight, guitars, and was more in your face; were You and Me and The Mountain is on the floor with you encouraging you to sing along and tap whatever appendage you can. Each song is amazing in musicianship and listen-ability. (Sargent House) Memorial The Creative Process/Berlin LP Former Renee Heartfelt members make up Memorial and this vinyl LP contains 8 songs that was to be two separately released 7”s. With heavy guitar riffs and atmospheric tones, this album would interest any fan of Quicksand or Texas is the Reason. (Flight Plan) The Modern Society The Beat Goes On Atlanta’s The Modern Society sounds like Connecticut’s Hot Rod Circuit if they were from New York. The Beat Goes On, their sophomore release is quite good and is filled with many rocking songs. (Original Signal Recordings) Now, Now Every Children Cars Cars is one of the best releases of 2008. Cacie Dalager’s innocently haunting vocals backed with Brad Hale’s exact drumming create such mood and emotion throughout the entire album. This duo knows how to write meaningful songs and will assuredly be known by all soon. (Afternoon Records)

Off With Their Heads From the Bottom It took me a couple of listens to get into Off With Their Heads. Something about the vocals kept putting me off, until during one listen it finally clicked. From the Bottom is a great punk album that stands out on every track. (No Idea) Olehole Hole Mole Featuring ex-members of The Ghost, Hanalei, and Burial Year, Olehole harkens back to the sound of The Ghost, but moves much farther past. Each song oozes with thick bass lines and heavy guitars, complimented by Brian Moss’s sing/scream vocals. (Underground Communique) Only Thunder Lower Bounds Featuring former members of the Blackout Pact, Ghost Buffalo, Cost of Living, and the Mediks, Lower Bounds fails to impress. Sure the music is good, but many of the songs are easily forgettable, save for the standout track “Splatterhouse”. They got it right on that song. (Bermuda Mohawk) Outclassed This Might Be Coincidence 12” This Might Be Coincidence is 15 minutes of shouted vocals and screeching guitars which translates into pure raw fury throughout all five songs. (Forcefield Records)

Now, Now Every Children


Paper The Operator Solemn Boyz EP In addition to recording solo material and playing in The Color Wheels with his wife, Jon Sebastian also mans the full band indie rock goodness that is Paper the Operator. The Solemn Boyz EP has a sound of catchy, melodic pop similar to Jimmy Eat World or The Stereo. (Viper Bite Records)

The Saint Alvia Cartel S/T This album sounds like a bunch of dudes hanging out writing music and having a blast doing it. Lots of group vocals with organ accompaniment. Influences from many genres can be heard on this album from The Hold Steady to melodic hardcore to ska core. The energy exuded from this album is contagious. (Stomp Records)

Push-Pull Hello Soldier This is a re-issue of their debut by the same name from 2005. The album is thick distorted post rock that at times is quite clever and inventive. (Sickroom Records)

Scream Hello Everything is Always Still Happening With Everything is Always Still Happening, Scream Hello has crafted a well-rounded working-man’s feel good rock album that won't bore the listener. They keep getting better and better with each release. (Red Leader Records)

Quatre Tête Art of the State Quatre Tête play mathy post rock with a prog influence that is similar to another Chicago band, Shellac. (Sickroom Records) Rahim Laughter This bands name reminds me of 90's rap artists Eric B and Rakim, but Laughter is nothing like rap music. At all. Each listen of the album reveals increasingly complex melodies, varying vocal harmonies and a wide array of musical instruments, including horns, vibraphones and garbage cans. (Pretty Activity Records)

Sharks and Sailors Builds Brand New With rotating male/female vocals, Sharks and Sailors sound like 90s grunge. Three of the songs on Builds Brand New are instrumental. Builds Brand New at time gets a bit monotonous at times and may not be for everyone. (Self-Released) Snowing Fuck Your Emotional Bullshit EP Featuring ex-members of the beloved Street Smart Cyclist and Boy Problems, Snowing sets off on the trail blazed by SSC and emerges with one fantastic

Scream Hello


release. Fuck Your Emotional Bullshit is an outstanding debut release that has been and will be on a steady rotation for a long time. (Self-Released) Son, Ambulance Someone Else's Déjà Vu Drenched in 60's and 70's pop and psychedelia, Son, Ambulance is at some times good and bad. The opening track, "A Girl in New York City", starts out at a fast tempo, with a Paul Simon feel, while the next track, "Legend of Lizeth", lead singer Joseph Knapp makes it sound like a cheesy Adam Sandler love song. The rest of the album is hit or miss. (Saddle Creek) Static Radio NJ An Evening of Bad Decisions... An Evening of Bad Decisions... starts off high paced and never lets up. They have a style similar to Lifetime and the intensity to match. An Evening of Bad Decisions... is an all around well written punk album. Take a chance and give it a listen. (Black Numbers) These Arms are Snakes Tail Swallower and Dove With every release, These Arms are Snakes re-invent themselves slightly so each album has its own sound and the

same applies for their Suicide Squeeze debut Tail Swallower and Dove. It really seems that they have found their groove with this release, as it is the best they’ve done yet. (Suicide Squeeze Records) They and the Children Home They and the Children fuse ambient noise with hardcore which create a feeling of an experimental From Ashes Rise. Home is an all out assault on your ears and mind with nearly forty minutes of brain splitting hardcore. With this release, they have found a place that few have traveled, and are blazing new trails in the process. (Kill Normal) Three Second Kiss Long Distance For me, saying your album was produced by Steve Albini is like telling me your album has songs on it. It doesn’t sell me on the album any more than it would if somebody else produced it. Long Distance though, sounds like it could have come from Albini’s personal discography. I do enjoy the mathy guitars on Long Distance, but I can’t see my self playing this constantly. (Sickroom Records)

These Arms Are Snakes


Tigers Jaw

Tigers Jaw Tigers Jaw When I first listened to Tigers Jaw, I had the same feeling as I did when I first heard The Promise Ring. It was the feeling of a bunch of kids playing music, just to play music. No pretensions, no motives, just raw production and an upbeat tone. You can tell from this album the the guys and lady of Tigers Jaw are having the time of their lives. (Run For Cover Records)

Young Widows Old Wounds Young Widows is a band that feels most comfortable playing live. Old Wounds was recorded over the course of a few live shows and in studio performances, then all the best parts pieced together to create the best sounding song. Old Wounds goes far and above their previous album Settle Down City and it puts them at a greater distance then their previous band Breather Resist. An excellent sophomore album. (Temporary Residence)

Boring Boring Boring Boring Boring Boring Boring Zach Plague Zach Plague aka Zach Dodson is a very talented graphic designer by trade. Going into this book, Zach created an image for this book that is rarely seen in mainstream publishing. Zach gave each character has their own font and bolded and italicized words to show emphasis. Choosing to design the book at its signature stage, 16 pages on one sheet, Zach not only designed a cool looking book but large posters that go along with it. It is truly something that has to been seen to understand. The story details the troubled relationship of Ollister and Adelaide and the mysterious grey papers that Ollister needs find before the Platypus gets his hands on them. An intriguing story that will surprise you with each plot twist and development. (Featherproof Books)

POST - A Look at the Influence of Post-Hardcore 1985-2007 Eric Grubbs Written by former Punk Planet writer Eric Grubbs, POST, is a fantastic look into the evolution of post-hardcore/emo from its birth in the mid-1980s. POST picks up where Michael Azzerad’s Our Band Could Be Your Life leaves off and follows a similar narrative style. This book features sections on Dischord, Jawbox, Sunny Day Real Estate, Jawbreaker, Braid, The Promise Ring, How Water Music, The Get Up Kids, At the Drive-in and Jimmy Eat World. Grubbs does a great job of giving detailed information on each band and also including a deeper look into bands and labels related to the bands featured, like for instance detailing the rise of Sub Pop and Foo Fighters in the Sunny Day Real Estate section. If you are a fan of any of the bands mentioned above, do yourself a favor and buy this book. (iUniverse)


PHOTO CREDITS: Cover: Pg 4-5: Pg 9-14: Pg 15-19: Pg 20: Pg 22-27: Pg 28-31: Pg 32: Pg 33: Pg 34: Pg 35: Pg 36: Pg 37: Pg 38: Pg 39:

Kevin Ludwig // Danielle Parsons // FEST 7 Artwork // Kevin Ludwig // Adam Sever Kevin Ludwig // Danielle Parsons // Michael Triplett // Chris Strong // Nathan Colquhoun // James Allen Walker // Katie Evans Promo Photo // Unknown Renee McMahon Promo Photo // Unknown

SUPPORT: Bands: La Dispute // Snowing // Tigers Jaw // Algernon Cadwallader // Places: The Vault // FEST 7 Bands: The Fest // Lemuria // Paint it Black // Cloak/Dagger // The Brokedowns // Off With Their Heads // Young Widows // Ads: No Sleep Records // Black Numbers // Modern-Radio // Lujo Records // Viper Bite Records // Lovitt Records // Be Happy Records // Featherproof Books // Saddle Creek // Count Your Lucky Stars Records // Tiny Engines //


Labels: 54ยบ40' or Fight! // Afternoon Records // Be Happy Records // Bermuda Mohawk // Black Numbers // Burn Bridges Records // Count Your Lucky Stars Records // Dischord // Featherproof Books // Flameshovel // Flight Plan // Forcefield Records // Go-Kart Records // Heart of a Champion // Kill Normal // Loose Tooth Records // Lovitt Records // The Militia Group // Monkey Wrench Records // No Idea Records // No Sleep Records // Original Signal Recordings // P is For Panda // Polyvinyl Records // Pretty Activity Records // Red Leader Records // Run for Cover Records // Saddle Creek // Sargent House // Sickroom Records // Stomp Records // Suicide Squeeze Records // Temporary Residence // Tiny Engines // Underground Communique // Viper Bite Records //

Manual Dexterity Music Zine - Summer 2009  

FEATURE interviews with La Dispute, Snowing, Tigers Jaw, Algernon Cadwallader, and The Vault. SIXES interviews with bands Lemuria, Off With...

Read more
Read more
Similar to
Popular now
Just for you