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May 2010 | Issue 39

COVER

The Morning Of

The Bigger Lights

Crash Boom Bang

Examining The Radio “Tax”


Issue 39

3. In The News: The Radio Tax 4. The Morning Of 7. Professions: Anthony “Dob” Dobrini 8. Significant Others: Megan McIsaac 9. The Bigger Lights 10. Since You’ve Been Gone: Crash Boom Bang

Letter from the President

There came a day where I considered ceasing Scene Trash Magazine after 4 years of production. I got to a point where I felt that the magazine had plateaued, and I was no longer satisfied with its content. I was not willing to settle for average (or worse), and was forced to make a decision about the status of the magazine. Within the next few weeks, I reevaluated my staff, the vision of the magazine,

the content of the articles and decided what direction I wanted to go in with the help of my vice president and newly appointed editor. This issue stands as a preview of what summer and beyond will bring for Scene Trash Magazine. Full color, full page, with richer content and a higher standard. I hope to one day have the magazine at a level where I can compete with the magazines I grew up with and still continue to read. The overall goal of this magazine still is to have an impact no matter how small on the music scene me, and

On behalf of the entire Scene Trash staff, I would first like to welcome you to our May Mini Mag; this is a little taste of what is to come for us... and for you! Perhaps you’ve noticed, we look a little bit different...? Bigger, sure. We’re at a full page now. Colorful... definitely. Scene Trash is now in full color. Perhaps you’ve even no-

ticed the nicer pages? I AM SO EXCITED! I’ve been with the magazine since I graduated high school, in the summer of 2008. In the last two years, I have been to many amazing shows and festivals, interviewed photographed many amazing bands, and met a lot of truly wonderful and inspiring people... many of which are currently on the staff, truth be told! I wouldn’t trade the moments I’ve had as a direct result of working for this mag for anything in the world, and,

the rest of the staff have been in for most of our lives. I am very excited for the changes we’ve implemented and we want as much feedback as possible on this issue and everyone to follow. After 39 issues this magazine has grown up as has our audience, and we want to make sure we’re giving you the content you want to read and can’t find anywhere else. So critics, cynics, lovers and haters please email, message, comment, @reply and everything in between as much as possible to tell us what you love, hate and can’t wait to

Letter from the Editor

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now, as editor, I can only guarantee you more... amazingness? Yes. Of course. It’s an honor to work here, and it’s an even bigger honor to be editor. A lot of huge things are happening in the ST world within the next few months, and I have a front row seat; through the issues to come, I will be sharing with you guys a bit of the view from this front row seat. It is really a very good seat to be in! Next month, we will be a full issue, with tons of reviews and articles and special features.

pg.4 read more of. There will be more changes within the next few months that will help brand Scene Trash in a way I’ve been hoping to do since I was 16 years old hanging out in church basements. I hope everyone will stick with us in this expansion and help make this your magazine as much as it is ours. Love always, Christine Osazuwa

Please sign up for our mailing list, subscribe, become a part of our family. We love meeting you all at shows and hanging out at Warped Tour, and I’m not the only lady on staff who can confirm that the people we’ve met on the road are some of the loveliest people we’ve met EVER. Join us, it’ll be a blast, and it’s only upwards and onwards from here! Ever so sincerely, Dani Tauber


In the News: The Radio Tax

by christine

In the past year, talk of a “radio tax” has been circulating throughout the internet, television and of course, the radio. These media sources often highly oppose the passing of the radio tax, but many people that join Facebook groups and sign online petitions are not completely certain what the tax is, and why there is support for such a measure.

What is it? The bill in legislation seeks to give musical performers equal rights to compensation from their recordings being played on broadcast radio. The bill is not a “tax” at all, but it actually lifts radio stations’ exemption from copyright charges. Currently, radio stations only pay royalties to the songwriters, not the performers. This is where the phrase “performance tax” derives from. This change in radio operation will cause stations to pay royalties in the same way that television, movies, and some online radio stations must do.

tions and they will be forced to have a rotation of smaller artists that may not appeal to as wide of an audience, thus decreasing listenership even further. The possibility that a song will “fail” may make stations unwilling to spend their shrinking budget on artists they’re not sure will have a positive reception amongst the audience. Instead of expanding their airplay to independent musicians, they may spend their budget on a few large “sure-thing” artists. Radio stations have run commercials proclaiming the greed of the record companies. Ads run constantly explaining that these companies are just seeking out a new way to generate revenue now that record sales continue to decline and they refuse to redesign

What do the opponents say?

These artists (and their corresponding record labels) are receiving free advertising from these radio stations and should be gracious for this. Many worry that the “tax” imposed on radio stations will be a heavy burden on an industry that has seen tough competition throughout the internet age from satellite and online radio, and that this may be the final nail in the coffin for the industry. The royalties of larger artists such as U2 or Coldplay will be too much for smaller sta-

their own business models. The bill will take money out of local businesses and place it in the hands of large international corporations. Essentially the bill will crush the local community and build big business even further. While radio is a free service to the public,

What do the supporters say? it is not a non-profit sector. Corporate radio stations seek out and generate a substantial profit. While this profit is declining, it is still a substantial amount of money, through advertising sales as well as sponsored events. The stakeholders in the broadcast industry are able to bypass the same restrictions that other media sources must adhere to, therefore while the artists are receiving free publicity they’re also being used as means of revenue by the stations. The songs are played for free, and listeners tune into the stations to hear these songs, not to hear the commercials.

may be locally run (DJs live locally, local events), most of the radio stations in America are a part of a much larger corporation, such as Clear Channel or CBS Radio (which in turn are owned by even larger companies, who often own the record labels receiving these royalties). Most independent labels are non-profits such as National Public Radio and college stations. For the most part, the money will be leaving the pockets of one large corporation and moving to the pockets of another, probably larger, corporation. Supporters feel that all media sources should help support the artists and companies that are supporting them. Radio stations will be forced to support artists with smaller royalty demands, or without labels inflating those demands, which may give a chance for grassroots artists to receive radio time. Many artists such as Patti LaBelle, Will.i.am, and Sheryl Crow are all in support of the bill. Currently, nothing really, but anytime some-

What does this mean to you?

one slaps the word “music” on anything, people are quick to choose sides. Some argue that Madonna doesn’t need another million in royalties, but what about bands like 3OH!3 and Cobra Starship who are on the radio but, definitely are not making millions on anything? Do they deserve the sympathy and the performance royalty? Because these artists write their own songs, they do receive royalties through publishing companies; however, they do not receive compensation for the actual performance of the songs. The real questions are: how much money are these smaller artists actually losing? Will Britney and Taylor be making hundreds of thousands while Boys Like Girls are making hundreds? Will you be devasted if any of these artists are actually no longer on the radio?

Now you tell us: is radio relevant to your life in an age of iPods and internet? Email us your answers at submit@scenetrash.com to be featured in the next issue!

The opponents of the act refer to radio stations as local businesses. While they

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The Morning Of ouldn’t “No I w s u t f e l s ’ t i say s ’ t i t u b , d e d a j n e v i g y l e t i n i def l a e r e r o m a s u n o k o o l t u o c isti s g n i h t y a w e th work.”

There’s a few female-fronted bands, and there’s probably at least 100 times as many male-fronted bands, but you can probably count the amount of male AND female-fronted bands on two hands. Justin Wiley and Jessica Leplon are the two lead singers of New York-based band The Morning Of. On the surface, The Morning Of is a bouncy pop band who, in their live set alone, have done covers of both U2 and Alicia Keys. Two years ago, the previous sentence would have been a thoroughly accurate synopsis of The Morning Of. A band who was extrospectively reflecting on the world around them and providing commentary in their first album, The World As We Know It. However, with a steady touring schedule, losing a member, and other hazards of band-life, their gaze has shifted internally. “No I wouldn’t say it’s left us jaded, but it’s definitely given us a more realistic outlook on the way things work,” Justin remarks. “This record is a lot more realistic, there’s still some poppy songs, but it deals more with the bad things in life that came when we were on tour all the time... Everyone has to grow up and experience the way things really are.” The evolution from the first album to the next is not due entirely to touring or life-experience. The album also features a great producer and guest vocalist. Due to the departure of Abir from the band, Jim Wirt played the bass on the entire album, in addition to producing it. “[Jim] had a lot of really awesome things to say about our songs, a lot of really great input,” Justin says. “It was the first time we’d ever worked with a producer to begin with. He’s done records that really mean a lot to us, so the whole experience was just mind-blowing. I’m really happy with the record, and I think he was a perfect fit for production. I don’t think I’d be as happy if we went with anyone else.” As if to prove their graduation to a new level, in addition to a renowned producer, they also enlisted the help of a legendary vocalist, who incidentally also supplied to the name of the album; “Aaron Marsh from Copeland sang on the last song, ‘Heaven or Hell’ and [the album title] was one of the lyrics that he wrote for his part and we just really really liked it. It kind of symbolizes us as a band, and making music, like the way we fell into this lifestyle.” The effects of touring are a recurrent theme. A band with as unique of a sound as The Morning Of, has a wider range of options when it comes to selecting tour support. Without a defined genre or “image” they are free to choose the bands that they’d like to be associated with. “I guess it’s always hard to tour with the ideal band,” Jessica says, “because bands you really want to tour with are really too big to take us out [on tour] and it would be a miracle, but no really right now we’re on tour with Sparks The Rescue, and I love that band. I love their music, I love their

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sound, I just love them. My dream tour,” especially smaller bands, to succeed be- and people don’t really come to shows she adds, “would probably be The Rocket cause people don’t buy records anymore that much. Big, huge tours are like 1000 Summer, No Doubt, us, and Lady Gaga.” people a night, and it’s just depressing. To show just how wide of a range they Everything always gets worse before it have, Justin says that the “perfect tour” gets better so it’s just gonna get shit“He doesn’t act like he’s the greatest tier and shittier until eventually it craps for them would be “Coldplay headlining, singer of all time, when he really is,” out, and people are going to realize [with] The Fray, OneRepublic, Parachute, and then we would be opening. I think Justin Wiley says, describing Aaron that it can’t be this shitty and they’re that would be an insane tour which would Marsh. Copeland’s frontman has lent going to change their ways, hopefully. never happen. All of those bands are his voice to countless songs. Those That’s the optimistic way of thinking.” fucking gigantic and aside from that I just tracks include some of the following: As optimists in a sea of cynics, The feel like we’re already like a pretty good Morning Of is always looking forward. mix of all four of those bands, I’d like to • “Just For Tonight” on Rookie of the Bands’ careers that The Morning Of think at least.” Year’s album Having to Let Go would like to emulate include Anberlin and The Fray, and with the progresWhile that tour would be filling arenas, • “Heaven or Hell” on The Morning sion of the new album, it’s safe to say “The most we’ve ever played to is like Of’s album The Way I Fell In they’re well on their way. “Music wise three hundred or four hundred people a • “Some Will Seek Forgiveness, Oth[our sound has] changed a lot. I don’t night, which is decent,” Justin confesses. ers Escape” on Underoath’s album like to say the “mature” thing because “I’m not complaining at all, but I would every band tries to say that from one like to go to the next level. There’s bands They’re Only Chasing Safety album to the next but it is definitely a out there that play to 1500 people a night, • “Inevitable” on Anberlin’s album lot more mature. We’ve just grown up and I would like to be able to be on that Cities a lot from the time we wrote the first level in a year, but if it doesn’t happen, record to the time we wrote this one. it’s nothing that we would be pissed off • “Empty Bottles” on Stacy Clark’s The songs are a lot better and we’ve about. We’re really happy with where we album Apples & Oranges all grown as musicians. We’re so much are and where we’ve been. We’re really better at our instruments so you can proud of ourselves... I would like to think • “Hospital” on Lydia’s album Illumitell in our performance on the record. that in a year’s time we will be on some nate I think the songs have a lot more of an huge tour. Kicking ass, taking names, and • “Bittersweet Symphony” cover by adult vibe to them than the first record hopefully if this record goes well, in about did, because [the first record] was all a year’s time from now, we’ll be about Ace Enders and a Million Different cheery and bright,” Justin says. ready to go in and record the followPeople up, and I just hope that [The Way I Fell In] takes us to the next level where The In addition to guest vocals, he also The new album, The Way I Fell In, is World As We Know It couldn’t take us to.” worked on a side project with Anber- available May 4th. Justin’s required lislin frontman, Stephen Christian, called tening on the new album is: “What You The changing nature of the music indusAnchor & Braille, though he ended up Can’t Control.” Jessica suggests you check out “Waiting.” “I just want to tell try has also influenced the group. “I’ve producing the album and singing guest everyone out there who bought our been around the music scene since I was vocals. While always working on solo first record thank you and please buy like 13 years old,” Justin explains, “and I stuff, Marsh is also a renowned pro- the second record and don’t download really miss the days when I was younger ducer, photographer, designer, and it illegally,” Justin says. “I hope everyand every show, even local shows, had has been featured on tracks playing one enjoys it and follow us on Twitter!” 400 kids at it. Everyone was just having fun and people were buying records. Now everything from the organ to the mel- Jessica concludes. I just feel like it’s really hard for bands, lotron.

On Aaron Marsh...

Interview by: Christine Photos by: Nancy Nystrom

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Professions

Often overshadowed by New York City, Long Island has a track record of producing infamous bands such as Brand New, Taking Back Sunday, Glassjaw and The Movielife, to name a few. Countless stories have been told about legendary hometown shows from these iconic bands in VFW halls and church basements. Long Island native, ANTHONY “DOB” DOBRINI is a wellknown MUSIC PROMOTER in the area, who’s trying to keep Long Island as relevant in today’s scene as it was when Adam Lazzara was hanging upside down and swinging his mic in front of a few dozen people instead of a few hundred.

What does it mean to be a promoter?

Basically, my responsibility is to put on shows in the Long Island area for several different people. First of all, it’s for the people who like going to shows, so my job is to let people know about different shows happening around them. Second it’s for the bands that are local to the area. I am more or less a stepping stone in their band’s lives because I could help them get in front of people at different shows. Local bands and I more or less work together. And finally I am responsible for connecting with touring bands from around the country and giving them a second home. It is important that people are there to see a band from say, KY or MI - and usually I negotiate agreements where they will help me in their hometowns when I need it.

but soon enough went solo. My parents used to sign off on contracts for me, since I was under 18, to book at a local VFW hall.

Did working in the industry at such a young age make things more difficult?

What are you studying and has it helped you progress as a promoter?

I am studying a Journalism major and Media Arts minor. I actually don’t think it’s helped too much. I mean it opens another door because I have written reviews and interviews with musicians for my school paper. But aside from that I don’t think it’s helped too much. When I am here to pass the time I help book shows on campus when I can also. Music is number one. School is second for me.

Nah, I don’t really think so. I think the only thing it did was really destroy any care in the world to go to school. Ironically enough, I am still in school, but working heavily in promotion as I have been here. It’s a lot of work. It’s not some easy job. Not Do you think you’ll be able all my friends are involved in music and to make a living postthey don’t understand it sometimes - but they don’t have to. I really work alone most graduation doing full-time of the time, but we have a crew working the promoting? days of shows. But I think it’s awesome to I guess that will remain to be seen. I hope so. go to a show as my job. I am not in it for the money exactly. I am in it for the love of the music. That could either What would you say is help me or hurt me. I have apparently been Do you find that people the most difficult part ‘the nice guy’ in promotions. One often think it’s easy to named friend called me the Mother Theresa of bookof the job? be a promoter? ing yesterday, which I thought was funny. I The most difficult thing is being able to am not out to screw any bands. So I level with research which shows would do well in the Oh yeah. There are definitely a number of 15 year old kids that think they can book all of them if a problem arises. But I think if area and which shows are best for everya show but really have no idea. I think it I do my job right and most of my shows at one. The worst thing is right before doors say, Vibe are sold out, and the Crazy Donkey and you question...”Oh my, is anyone going comes with more of a connection to the to come to this show?” But usually working music industry through myspace and twit- are close to selling out (usually have 400ter; everyone thinks they could do these 500 people show up to those) I think I can together with local support, people come continue to be successful in this market. I’ll try out because music brings people together. things nowadays. Street marketing is very important and not a lot of people have the and expand in the future. Ask me in a year or However there is always going to be a capabilities to do that. Now it’s funny since two if I am doing okay or not and I guess we local band that thinks they are better than others, and won’t do their part to promote I told you before that is how I got my start. will see if I need an office job. the show. So you really have to know about But I don’t think it’s for everyone. People will learn if they are meant to do this job. [Continues on page 10] each band you work with beforehand. If otherwise they might just lose some but that’s fine. I lost cash when I was What motivated you to cash, younger. But I was able to turn that around become involved in the and be relatively successful at what I do.

industry?

When i was 16 I was playing bass in my first band and we were playing shows every now and then. My drummer and I got us a great opportunity to record an album with a pretty big producer but we needed to raise money. We decided to put together a string of shows and called it a Battle of the Bands. We gave away a lot of stuff to a bunch of the bands and we made money too, to fund the record. 300+ kids came out each night. I knew I had something to do with that, so as I continued on I partnered up with some friends along the way and booked shows,

What’s the biggest show you’ve ever put on?

I’ve had sold-out shows at Vibe: Just Surrender, Hit the Lights, The Ataris, etc. I had the Ataris at the Crazy Donkey but only booked it two weeks prior to help out Kris Roe and it was pretty successful. I have also had a series of just local showcases - like my one and two year anniversaries draw a bunch - I had 500 the past two years at both of them.

You mentioned you’re currently in school? 7

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Megan McIsaac Significant Others by Dani Tauber You are in a very dimly lit café, ambiance, they call it. A group of shaggy-haired, bead-wearing musicians are about to take the stage, or, in this case, the rug set up in the back by the magazine racks. You have a few rolls of film in your purse, and one ready to go in your camera. Fresh flash cubes, tightened strap, a bit of felt to wipe the lens clean with. The lights go even lower, and the first few chords are played. Heads start nodding, the espresso keeps flowing. You step closer and smile, you raise your camera, you shoot. You have just captured a beautiful moment forever, inside a single film frame. You are Megan McIsaac.

Firstly, tell our readers about yourself; hopes, fears, hobbies, anything you would like us to know before we get into the questions.

ever inspires me, which is anything with genuine emotion really. Musicians inspire me greatly, which is why I began photographing concerts and doing promotional photography in the first place. When I feel that a band or a musician is sincerely passionate about what they are doing, it feeds my passion for photography and the thought that I can document their passion with my own gives me the heebie jeebies.

Oh goodness, that is broad. My name is Megan Kathleen McIsaac... travel is my biggest inspiration, not just for photography but to keep my passion for living in general. I am obsessed with change, good and bad. My ultimate goal, what Do you find it difficult somedrives me to share my photographs, is times to shoot live bands and the hope that I could inspire someone. Whether I inspire them to make better shows on film? photographs than my own, or I inspire Only when the lighting is absolutely awful, them to look at life differently, it all which is part of the reason why I tend to use black and white film for concerts. The only counts. thing that is really difficult is when there is large quantity of photographers at a show What (or who) got you aalongside me, with their enormous flashes started in photography? firing every two seconds. It discourages me My grandfather, Frank McIsaac, was a because a lot of them tend to make a photophotographer. He and my father, Tim, graph of every single moment that happens, gifted me a camera when I was seven because of their big memory cards, which years old, for Christmas, and I haven’t makes me think, “Well of course they’re going been able to leave the house without to have a great moment or two, and they’re one since. not missing a single one!”

How many cameras do you Tell us about your work with own, and if you HAD to The Yellow Bird Project! We guess, how many rolls of all think it’s an amazing charity. film have you shot in the last Oh I’m glad! They are my favourite charity hands down, which is why I love working with five years? I don’t own too many, or maybe I do. I have my Mamiya c330, Nikon Fe, Kodak Retina iiic, my Nikon D70s, and a handful of point and shoot cameras. Rolls of film in the last five years... hmm. I would have to say I’ve shot at least 300 rolls.

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What is your favourite subject to photograph?

I really just enjoy photographing what-

them so much. The year they began I saw an advertisement for them in a magazine, I think it was Paste magazine, and it intrigued me so I found their website which led to their email which led to me emailing them about making photographs for them. They sent me a few shirts and I photographed them on myself and my friends and we decided to make it a regular thing, which led to me being their official photographer.

What bands have you worked with?

Oh, so many! I am very fortunate with how many talented musicians I know and am surrounded with. I did an album cover for Neal Casal, a wonderful musician/songwriter who has worked with many other musicians, such as The Cardinals. Neal is also a photographer; he is a big inspiration to me. Anyway, I have photographed a lot of concerts and the musicians hanging out backstage, including Why? Monsters of Folk, Sigur Ros, Vetiver, The Black Crowes, The Black Lips, Calexico, Explosions in the Sky, Of Montreal, etc. I’ve been fortunate enough to document a couple of music festivals too, like Sasquatch and Pitchfork.

What are some difficult issues and adversities you’ve faced, while shooting or otherwise?

Trends are difficult for me, they can be very discouraging. Photography has been a trend for the past few decades, so that does not bother me, but the digital trends, the Lomography, the Polaroids, and now the analog trends can be discouraging because I think a majority of the photographs coming out of these trends all look the same and it makes it hard for me to enjoy looking at any photography anymore. There are so many magazines and blogs with these themes with dreamy and surreal photographs, but I can’t tell the difference between any of the photographers. They are all doing the same thing. Aside from that, supporting myself as a photographer is extremely difficult. I am very young, but I am financially independent and it is hard to be able to afford all of my film and processing, let alone my rent and bills, which would explain why I have a big box in my refrigerator that is full of


rolls waiting to be developed. That in itself is Do you have any advice for asdiscouraging because I sometimes don’t get piring photographers? to see my photographs until months later, or Well, advice that I constantly tell myself even a year later. and remind myself about is to not let petty things discourage me. Keep shooting. Never leave the house without your camera. If you haven’t figured out why you love making photographs, figure it out and never forget it. Even if it is just because you simply enjoy looking.

What do you hope to accomplish for yourself in 2010, and onwards?

printed! and I like to think that it makes my mother proud of me. I know she worries about me sometimes, but being published is sort of my way of saying “Look Mum! Somebody enjoys my photographs!” Haha.

It appears that MANY somebodies enjoy Megan’s photographs; she has gained quite a following via Tumblr and MySpace, and there is even a Facebook fan page dedicated to her and her work. And why shouldn’t there be? Her photographs don’t just portray moments and memories. They portray real life and grit and hard work. They portray perseverance, and the artists’ dream.

The most important thing to me is processing my film, I am trying to not spend any For more information and to view her more money on clothes or things that I don’t work, please visit Megan’s website: meganmcisaac.com need. Travel is also very important to me, I Photos by Megan McIsaac have never been overseas and I am really trying to make it to Europe before the end of the year, and somehow still afford to take small trips around the United States in the meantime. I would love to see my photographs on more album covers and I would love to be published in more magazines this year, I just think it is exciting to see my photographs

The Bigger Lights

I sit down with JK Rolston and Topher Talley of The Bigger Lights in an empty roller disco in Atlanta to discuss life, love, and the pursuit of a career in the music industry. It’s been a few years now since I first saw them play at a small coffee shop music venue I was working at in Waldorf, Maryland. The boys have changed a lot since then, (and I’m not only speaking literally of the member changes). They say that they feel they are finally the band they felt like they were always supposed to be. Starting out they were inspired by big arena rock bands like Aerosmith, Queen, Journey, and Bon Jovi. “We all grew up in the 80s, when Michael Jackson was still legit [… and alive]”. However, according to JK, Topher’s self discovery was recently when he saw Foxy Shazam for the first time. “A fuse blew in my brain”, adds Topher, deciding that is what he is supposed to be. But after finding Ryan and Chris they “dropped the rules” that they had put on their band while they were worrying about if people would like their music and trying to sound and look a certain way. After finding members they “clicked” with, and finally feeling like they were the band they were meant

to be they got the courage to just say, “fuck it we’re not going to try and be anyone else, we’re just going to be ourselves”. The Bigger Lights, named from Shakespeare’s The Tempest to mean “The Great Unknown”, finally knows. They encourage those kids out there that are influenced by them to “just keep playing in bands until you find those people that click with you, when you feel it, you’ll know that you’re in the right band.” I took JK 13 years to find the right band because it’s easy to put the look and the internet promotional crap ahead of the music, but at the end of the day what’s going to make you a good band is your songs and your show. So find the right people, so that there’s a trust among members, and write the right songs. “Put the art first and let the rest of it follow.” On an exiting note the boys add a plug about their brand new Self- Titled full length that was just released last month. So check it out, because even if you’ve heard them in the past, the boys feel like this record “is the first time our band has been our band.” Interview by: AshleyCurcio Photo by: Karlyn Doyle 99


is a rock singer. The new songs that we have really show what he’s capable of doing, that’s what we’re excited about.

Anything else you’d like to say?

I don’t know. The three questions you asked were really good. Usually I do have something to say after interviews, but I don’t know. When you’re being interviewed by the best, there’s not much to say after it.

Since You’ve Been Gone

Just to finalize, we’re really excited for everyone to hear the new songs that we have and it’s definitely different than anything we’ve ever done. It’s a lot of fun for me to play on the drums. We’re all really enjoying playing our instruments and singing along to it, I think it’s going to show on stage. -If you miss them as much as we do, be sure to catch them May 29th in Warrenton, VA with The Dangerous Summer!

Northern VA quartet Crash Boom Bang has a lot of experience on all the rookies coming out of the area within the past few years. It had become customary to see a member passing out a CD or flyer after every major show in and around DC, and for the boys to have a big show lined up every month or two,. However, lately; the band that’s always everywhere was no where to be found. Drummer Mauricio Rivero explains their little leave of absence, and the band’s new direction. Interview by: Christine | Photo by: Karlyn Doyle

Crash Boom Bang has been a bit MIA lately, what have you been up to?

We’ve been writing and recording new material. We feel like we came to a certain point where we really wanted to start doing something different than what we’ve been doing. So the winter came along, and it’s kind of an excuse for us for us to not really go out and drive in the snow and play shows. We chose to go into hibernation and create the sound we’ll be doing next. But now, the weather is clearing up. It’s so nice outside and we actually have a couple cool songs to show for it, and we’re very excited about it.

Do you have plans to release another fulllength or an EP?

Honestly, right now we’re doing some showcases from labels and producers and we’ve actually gotten really good response from it and we’ve also got some really good advice as far as the ingredients we’re working with the four members of the band. According to that we’re trying to find out what the next move is. We’re not really focusing on writing a full length, we don’t even know if we’re going to do an EP, we know that we want

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songs; we want new songs, something fresh. So that’s our focus right now, just writing songs. Write now we’re talking about possibly putting out a sampler on iTunes, or something like that, just to show what we’ve been working with.

What about summer?

touring

this

As of now, that’s another thing we’re not too sure about. We know we want to start roadtesting these songs, so we might be doing some regional and local things, but we’re not really planning out any big tours for the summer.

To the people that have noticed your absence, what would you like to say?

Well, the number one thing is that we did not break up. I know people are so quick to think that, whenever they don’t hear from a band after a while. If anything, we’re probably enjoying our time as Crash Boom Bang more than ever. It’s almost like a brand new life that we’re creating here, with the songs that we have right now. We’re definitely going more along the pop route. We’ve always kinda had a foot in rock and another foot in pop, but something that we’ve realized is that we’re very proud to have a signer like Omar, we love his singing voice a lot. We kind of want to see what we can do with it, and go all the way with pop, because he’s more of a pop singer than he

[Professions continued from page 7]

So what advice do you have for kids that want to get involved in the glamorous and lucrative indie music industry? Go to shows first. Enjoy them. See a friend’s band. Help them out with loading in. Help them sell t-shirts or CDs. If you like that and can see yourself doing things like that every day, go to your local hall - VFW, Legion; and ask to rent the space out. Know you are taking a financial risk. Book 5-6 bands. Ask a venue promoter or an older person that has done these DIY shows before how it’s done. Be prepared to have a good time, but know you are working. It’s only going to get tougher, though. As music and personal lives intertwine, more and more people are going to want to be “involved with the music industry.” You need to be able to stick out. Do something different. I have friends that run successful house shows. I have friends that rent bowling alleys or warehouses. Try it. If it works - keep it going. And remember - music first, money second. NEVER do anything for the money.

Interview by: Christine


Scene Trash About

Scene Trash Magazine is a monthly regional print magazine based out of Baltimore, Maryland. The staff is comprised entirely of females 21 years old and younger. Established May 2006, the magazine focuses on East Coast indepedent and unsigned bands as well as exploration of lifestyle, subculture, and audience related to this music.

President/ Editor-In-Chief Christine Osazuwa

Vice President Karlyn Doyle

Editor

Content Editor Ashley Curtis

Photography Editor Claire Ainsworth

Staff

Writers & Photographers Britney Strevig Ashleigh Curcio Danica Gurdinak Abby Dugan Shannon Burroughs Ryan Ashley

Dani Tauber

Contact

Back Issues and Subscriptions available at scenetrash.com info@scenetrash.com facebook.com/scenetrash twitter.com/scenetrash

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Scene Trash Magazine - Issue 39  

Interviews with The Bigger Lights and Crash Boom Bang, an examination of "The Radio Tax" and diving into what it takes to be a Show Promoter...