My Interview With Nico & Vinz

I didn't know a whole lot about NICO & VINZ before this interview, but the more I listened to their music and looked into them, the more fascinated I was. I love cultures and talking about things I don't know much about, and seeing that Nico & Vinz are from Norway caught my curiosity. I knew I had to ask them a bit about that, but we also talk about their music and how diverse their sound is, and we talked about what is coming up for Nico & Vinz. This is my full interview with Vinz.

Anberlin's Final Minnesota Show

I am beyond stoked and a little sad to attend ANBERLIN's final show in Minnesota at the Varsity Theater. I have been listening to Anberlin for about a decade now, and they announced at the beginning of the year that this would be their last as a band. It's heartbreaking, but I'm glad they didn't fizzle out and they were able to give us a final album and a final tour. They have a sold out show at the Varsity Theater today! I hope to see some of you there!
The first Anberlin song I ever heard was "Ready Fuels". I think I came across it on Purevolume or MySpace. I used to spend hours exploring new music in junior high, and Anberlin was one of the bands I fell in love with.

Unless Anberlin drops one last music video on us before they ride into the sunset, "Stranger Ways" will be the last music video they ever release. It comes off of their final album "Lowborn".

Secret Album Released By I Can Make A Mess

Another secret album has been dropped, and this time by someone I actually listen to. Ace Enders is the frontman for a number of bands. He started in The Early November, he also has a project that simply goes by Ace Enders, and he has I Can Make A Mess. He recently dropped a secret album called "Growing In" and you can stream it below.

How To Properly Rock The Fuck Out

I have been attending rock concerts for about a decade now and therefore feel as though I am seasoned enough to have a valid opinion about concerts and the scene. I remember thinking that the rock show was pure anarchy at the first few rock shows I went to. But as I continued to attend live shows, I quickly learned that it isn’t mass chaos and I immediately fell in love with the atmosphere of live shows and what they could provide. I have even found myself doing some crowd control at recent shows. I really thought about the etiquette of concerts and thinking about concerts systematically after I attended the Dead Throne tour a month ago. It was one of the worst crowds I have rocked out with in quite some time and it really made me think about why that crowd was so bad. There is no textbook for concert etiquette and so young concert goers only learn from experience. However, not everyone’s observation skills are created equally, and so some concert goers always manage to make it difficult for other fans. I want to use this blog to take a humorous and light yet systematic approach to concert etiquette.

I have never been to a rap or pop concert, so this blog does not pertain to those types of concerts. I mostly listen to the spectrum of rock music. I have been in friendly ska circle pits, I have been to atmospheric concerts where people stand in place in awe of the music, I have been to general alternative concerts where it’s just about having a good time, and I have been to metal concerts where it seems I never go back home without sharing some blood with the venue. There isn’t too much going on at concerts like Copeland and Lydia where people can stand around and just enjoy the music. The ska crowd is just too nice, simple minded, careless, or all of the above for this blog to pertain to them. It’s the general alternative, metal, hardcore, and screamo shows that sometimes need a review of etiquette. This includes everything from Thrice and Taking Back Sunday to bands like As I Lay Dying and Cradle of Filth.

When you come to one of these shows the venue will most likely be pretty spaced out. Not everyone comes for the opening acts. People will most likely be standing in circles with their friends or with their arms crossed looking at the stage that has nothing but equipment on it. You also have the fan that has come to the show only to play with their cell phone. These fans I have never understood because you can play with your cell phone at home without paying the price of admission. Before sound check starts, most people will stand near the stage with a good 4 to 6 inches of space between each person. There is no need to stand shoulder to shoulder, chest to back at this point of the concert. However, you will often have a young fan arrive to the venue late and disrupt the harmony that was carefully carved out by more prompt concert goers. To add salt to the wound, this fan will often gleefully wave his friends over destroying any shred of harmony left and testing your patience even further. Why fans choose to bully their way through and make everyone around them uncomfortable is beyond me. Sure, now you’re a little closer to the stage and your vantage point might be slightly better, but what about the people around you? Plus, I am willing to bet a good lump of money that you will not end up in that exact spot when the show or set ends. There will be music in the room; you will be able to hear it regardless of where you are. When sound check ends and the fans can sense the start of the first band, an act occurs that I like to call “the rush”. The rush is a compression of everyone in the room and migration toward the stage. It’s a phenomenon that occurs at all concerts and puts a smile on my face every time.

Now let’s take a moment to look at the crowd from a bird’s eye view. The common rock concert crowd can be sliced into three primary sections. I will analyze the three sections starting with the section closest to the stage and move toward the back of the venue. The first section can be called “claustrophobia unfriendly”. This section probably doesn’t take up as much room only because the fans are so concentrated. This is where you will typically find younger fans who mistakenly believe that being closer to the stage will enable them to be more involved with the music. There are fans in this section that could care less about the music and more about being physically closer to the musicians because it gives them a sense of being involved with the scene. To be fair, there are plenty of good fans in this section too that just have the misfortune of sharing this area with poor fans. When I was a young concert attendee, I thought this was the place to be, but that perspective quickly changed as I gained more knowledge. Most of the fans here will be grumpy as they have absolutely zero wiggle room and sometimes will find it difficult to breath because of the of the amount of pressure created by bodies being pressed against each other. In this section, you sometimes have to think twice about putting your hands in the air at the band’s request because you might not be able to put your arms back down. One of the most annoying acts in this section is something I like to call “the-ring-of-protection”. You will see this immensely annoying violation by young couples. Often a boyfriend will try to create breathing space for their girlfriends by creating an imaginary hula-hoop around them with their arms making it uncomfortable for everyone around them. These violators need to either quit this act, or they have to take their romance to the back of the venue. You cannot go to a concert and commit this heinous act in section one without being a thorn to everyone around you. If your girlfriend is that petite, you have to know better and stay home or respect the people around you. This is a rock concert, you know what to expect.

The second section is probably the largest in terms of square feet and not necessarily bodies. I believe you will find more veteran concert goers in this section and I am certain you will find the more rowdy concert goers here. Most of these fans are indeed there for the music, but to be fair, some are only there to thrash and can sometimes ruin it for the other people. The fans in this section have grown tired of the first section and have learned that the party is actually in this region. There is also another kind of fan that make of the periphery of the second section. These fans are also tired of the first section, but don’t plan to partake in the circle pit. These fans can fully enjoy the music and appreciate the crowd as well. They also play the vital role of maintaining the frame of the circle pit. The circle pit is a chaotic and amazing space. The circle pit might look like complete anarchy, but to a seasoned vet, there are unwritten rules in place, rules that a newcomer will not know. There are two types of fans in the circle pit. One who is there for the love of music and to take advantage of the atmosphere and everything a live show has to offer while connecting with the similar fans. Then as mentioned above, there are some fans in the circle pit just to release some aggression. I personally can’t get involved in a circle pit unless I can “feel” the music. Now here is an unwritten rule that was often ignored at the Dead Throne concert I attended: when a fan falls, it is the duty of everyone else in the circle pit to help that individual up. If that person is not helped up, they will get stepped on, possibly injured, and they will have a hell of a time attempting to get up as the swarm of people above them continue to step on them as the madness continues. Another element newcomers to the circle pit don’t seem to understand is that the objective of a circle pit is not to run into each other in an attempt to destroy each other. For example, at the Dead Throne show, there was a not so gentle man whose main intent was to knock everyone in the circle pit over before they knocked him over. It was as if he were playing a very violent and deranged version of tag. Of course after a few minutes he was the least liked guy in the pit and he found himself on the receiving end of a couple of choke holds. To help you better picture this ass of an individual, just know he had his Ed Hardy polo on and his collar popped. When people told him to quit intentionally knocking people over, he replied that it was a concert and this is what was suppose to occur. To the untrained eye, this is what it might look like. This is, however, not what is actually going on. No one is in the pit performing their best Ray Lewis or Brian Urlacher impersonation. It just so happens that sometimes during the chaos people run each other over. There is not, or at least shouldn’t be, any intent to injure someone in a circle pit. People just understand that a certain level of violence comes with the territory. There is another fan that I like to call “the flailer” that shares the space inside a circle pit. The flailer doesn’t move around much within the pit, but does demand a good amount of space as they flail their extremities in an unhealthy fashion. It may look as if the flailer is mindlessly attempting to unhinge his forearm off his elbow, but a good flailer is very aware of the length of their limbs, the people around them, and the amount of space they have. The flailers at The Devil Wears Prada show failed to consider the three elements of flailing just mentioned. Flailers already look dumb (I know, I flail sometimes), let’s not hurt people in the process by elbowing, kicking, and/or slapping them. The last rule I want to throw in here quickly for the people of the second section is not to throw stuff into the stage. It puts the bands in danger and it doesn’t make you cool. The bands are working hard night in and night out and the last thing they need is for a shoe to hit them in the face.

The third section mostly makes up the back of the venue, but depending on the venue can take up space on the peripheries and can also manifest on multiple floors. There are two types of fans in the third section. The first one being the fans who don’t give a shit about the bands that are playing and are there more to be hip and because alcohol is served. The other type of fan is one that still loves music, but has grown out of the other two sections and could care less about partaking in those concert activities. They are there strictly there for the music. The third section really doesn’t need a lot of rules because most of the older fans are here. Plus, this is the section I have the least experience with although I find myself here more and more lately.

It would be convenient to have a book to teach us how to properly rock the fuck out, but alas things just aren’t that convenient for this scene that isn’t highly exposed. The scene is still a beautiful and thriving one, and so my hope is to hand it over to the next generation of young fans as beautiful and intact. Music has done so much for me and I’m sure for many people and it still has the capacity to do so much if we let it. It is truly one of the most beautiful and amazing mediums we have as proven by how eternal it is. I want to do my best to protect it and as I slowly fade into the third section, I hope music does for new fans what it has done for me.

The Devil Wears Prada Album and Concert Review

This article will be used to review both the The Devil Wears Prada (TDWP) concert I went to in Minneapolis and their new album Dead Throne. I’ll start off with a quick album review which I will keep short because the album has already been out for two months. Dead Throne, which was released on September 13th of 2011, was the first album Adam Dutkiewicz produced with TDWP. Their previous three full lengths and their Zombie EP were all produced by Joey Sturgis. Anyone who follows the scene also knows Adam Dutkiewicz from successful metalcore band Killswitch Engage. The band only had good things to say about their new producer and you definitely can hear a difference on this album. Although, I would argue that the growth of the band made more of a difference than picking a new producer. I make this claim because the Zombie EP which was produced by their previous producer really marks a turning point for TDWP. They took their sound to an entirely new level of brutality and cohesiveness and only expanded on that with Dead Throne. I’m not entirely sure what caused such a change but I would love to figure out what inspired this immense jump as there was no hint for the forthcoming carnage on their 2009 record, With Roots Above and Branches Below. Even just taking a glance at their album art and their track titles will support my point. The album art for With Roots Above and Branches Below is a lot more “colorful” and “playful” than the covers of the Zombie EP and Dead Throne which I think are much more dark and serious. The band previously had song titles like, “I Hate Buffering,” “Big Wiggly Style,” “HTML Rulez D00d”and “Swords, Dragons, and Diet Coke.” Now they present songs with simpler names. It has been very exciting to hear this accelerated growth from TDWP and watch them morph into a more mature band. I was hoping for a song that would echo that of “Louder Than Thunder” off of With Roots Above and Branches Below, but they didn’t have anything like that on Dead Throne. I find it very exciting when a band slips in a song on the record that is a complete changeup and throw the listener off a bit. A great example of this is Underoath’s “Some Will Seek Forgiveness, Others Escape”. “Kansas” is probably the closest thing to doing that on Dead Throne as it is one of the albums slower songs, but it still remains to hold a level of brutality and darkness. If you liked TDWP’s Zombie EP, you have to check out Dead Throne.

The concert I attended a couple of weeks ago was one of the bigger concerts I have been to in a while. Bands don’t seem to go on these huge tours anymore where any of the bands could be headliners themselves. Every band on this tour was outstanding. It was exciting to see a level of production on the TDWP’s set as most bands these days try to save money because of the recession. They didn’t have too much going on, but just enough to enhance the show. Although the strobe lights sometimes made it difficult to see anything. They also did a great job breaking up blocks of unrelenting songs with slower songs to give the crowd much needed breaks. Front man Mike Hranica was all over the stage and energetic as always. Hranica really understands the 180 degree line that performing on a stage creates and plays the angles very well. He also plays along well with the lights creating perfect silhouettes when the lights brighten and blotch him out. The show was full of energy and the crowd seemed to love the entire show. However, my only complaint about the show would be the crowd itself. Minnesota isn’t known as a tough place to play, but the crowd that night lacked respect to each other and to the bands. But that’s a different article I will be writing later.

Lydia Album and Concert Review

I’ve been putting off my review of the new Lydia album, Paint It Gold. Then a few nights ago, I went down to Minneapolis to watch Lydia play at the 7th Street Entry. Now that I have even more material and finally have some time, I will condense my review of the show and the new record together.

I’ll begin by sharing my thoughts on the new album. Paint It Gold was released on October 4thof 2011. I wanted to give the album a handful of spins before I wrote a review for it. When I felt I was ready to give the record an honest review, I was hit with a storm of busy. I mentioned in previous posts that I dislike when fans harp that bands need to not evolve and keep one sound throughout their entire career. I’m not one of those fans, but I will admit when I think a particular album off a discography stands out as the masterpiece. For instance, when I discuss Underoath with people, I have no doubt that Define The Great Line is the album that defines Underoath at their peak. Another example is Senses Fails’ Still Searching. When it comes to Lydia’s discography, I think many would argue that Illuninate is that album. Does Paint It Goldlive up to Illumanite? Although I wish I could report that it is just as good, I would be lying if I did. This is their first album since the hiatus, and they could be shaking off the rust. Although I don’t see that as a valid excuse since Lydia front man, Leighton Antelman, seemed to have kept busy during the hiatus. Antelman has been the primary song writer for most of Lydia’s history. It’s hard to compare how much influence Antelman had on how the songs shaped.Illuminate had a much different lineup from Paint It Gold and Assailants which is the album between Illuminate and Paint It Gold and before their hiatus. One has to ask if Mindy White really did have that big of an influence on how the songs sound. Mindy White is a fan favorite and a former member of Lydia. She was only with Lydia during Illuminate before she left the band to go on to form States. Was it Mindy that gave Illuminate its polish and will we ever hear anything as good as Illuminate without her? Or, could it be that the other members that quit after Illuminate also played a large role? Mindy seems to be at the forefront of this question since she was the fan favorite.

Now I don’t want my comparison of the two albums to make it sound like Paint It Gold is a poor album. It’s still a good album and it still very much feels like Lydia. I’ve been a fan of music and a fan of the scene for a very long time, but I’ve never really been a big lyrics guy. I’ve never looked too deeply into the lyrics because I think it’s near impossible to know what the writer is trying to get across without knowing them personally. I usually take the lyrics for what they are and try to personalize it. I think what made me a fan of Lydia is that the band forced me to listen to the lyrics a bit more. I say “the band,” and not just the writer of the lyrics because Lydia is excellent at writing lyrics against the context of their instrumentals to help create an image. When I listen to Lydia, I feel like I don’t have to interpret or personalize the lyrics. The lyrics and instrumentals, in a perfect marriage, are painted on a screen for me to understand. Quite often when I listen to Lydia I just close my eyes and just let the song sink in. Antelman’s unique voice with his lyrics and the perfectly complementing instrumentals is a force to give you chills every time you listen to Lydia.

Now because I don’t look too deeply into the band and the lyrics, I have a question for fans that might look into the personal lives of the band with more depth. Who is Hailey? Antelman seems to continuously refer to Hailey. And I have to admit, the songs he refers to Hailey are some of my favorite.

The Lydia concert was my second time seeing Lydia live. I never got the chance to see Lydia with their complete Illuminate group which is a shame. However, Lydia was typical Lydia keeping it low key as exemplified by Antelman and other members coming out without any shoes and socks. There wasn’t much special production, a customized backdrop, or special entrance. After sound check was completed, they simply walked out onto the tiny stage and begin to play their catalogue of atmospheric tunes. Antelman wasn’t pitch perfect, but he can get away with it since he isn’t known to be a strong vocalist. His unique voice and song writing skills are what people admire. I didn’t mention Lydia’s first album This December; It's One More And I'm Free. I must admit I’m really not a fan of that album. That is the first album of Lydia’s discography I listened to and I thought I would never listen to Lydia again. Luckily, some of my friends learned about Lydia when Illuminate came out and multiple occasions suggested I listen to Illuminate. After delaying listening to Illuminate for quite some time, I finally caved and gave it a chance and the rest is history. After I became a full time Lydia fan, I went back and tried to give This December; It's One More And I'm Free a second chance. Thinking maybe I had missed something the first time I listened to it. Even after giving the record a second chance, I have to say that I cannot get into it. If my memory serves me right, I read Antelman concede that This December; It's One More And I'm Free is not something he is very proud of. And so although the concert overall was good, Lydia really lost me towards the end when they started playing more songs off of This December; It's One More And I'm Free. The song they played for the encore even came off that record, which was disappointing to me. Again, the concert overall was good, very calm and just about the music, but I don’t see myself going to another Lydia show for a while. I’ve seen Lydia twice now, and I’ve seen what I have to see and heard what I wanted to hear, but there isn’t really much there pulling me back. I could potentially see them in two album cycles or if they make something that matches Illuminate.

Someone should count how many times I said Illuminate.

Evolution of Thrice

Just a short entry this time that doesn't really have a lot of meat. Really just an observation I had today.

I've been listening to a lot more Thrice lately and mostly on shuffle. It hit me today while listening to some of their really old material, that Thrice has evolved so much. I think they really capture how a band is suppose to evolve. It annoys me a bit when I'm at shows and fans only want bands to play their old material. It bothers me that fans expect artists to remain complacent and never change.

Thrice formed in 1998 and started as what I would describe as a punk-alternative rock act. In 2003 they released "The Artist and the Ambulance" where I think their sound began to change. This album probably also marked the peak of their popularity. I think the album did so well because they still had their core punk base, as well as a growing group of alternative-rock listeners. Their sound took another evolution when "Vheissu" was released. They really matured with this record, and I think a lot of their older fans felt abandoned, although I thought it was a very strong record.

I was lucky to follow them throughout their evolution. If you're interested in this type of music, I highly suggest going through each of their albums in order.

Identity Crisis(2000/2001)
The Illusion of Safety(2002)
The Artist in the Ambulance(2003)
Vheissu(2005)
The Alchemy Index Vols. I & II(2007)
The Alchemy Index Vols. III & IV(2008)
Beggars(2009)
Major/Minor(2011)

Underoath at The Triple Rock (Review)

Why do I suffer being shoulder to shoulder with people who have let the scent of their body odor ferment on their skin over a week? Why do I keep returning to the pit just to have elbows thrown at my face and to bang knees with other concert goers? Why do I allow myself to have stage divers torpedo at my cranium? To answer those questions simply, it’s for the love of music. It’s so I can submerge myself into the art and the atmosphere of live music.

I have been an Underoath fan for many years now, so I was not going to this show hoping to be exposed to new music and to be converted. I went to enjoy myself and to support a very talented band. I knew of the supporting acts, but have not spent much time listening to them. By the time I arrived at The Triple Rock in Minneapolis, This Is Hell was already mid-song. Pretty good opening act, but I was unfamiliar with their music and they didn’t do much to draw me to their music. The band I was least familiar with was The Chariot. Looking back, I fully wish I had known their songs because they put on an incredibly energetic show and their fans were as rowdy as ever. I learned later while chatting with Chris from Underoath that The Chariot barely made it to the venue on time. When This Is Hell finished and was loading their trailer, The Chariot pulled in and began to unload. Comeback Kid was the main support to Underoath. They are long time veterans of the scene and they haven’t lost a step. For a band with such a large catalogue of songs, it must be difficult to cater to their new and old fans simultaneously.

That brings us the headliner. Grammy nominated Underoath released their newest album, Disambiguation, on November 9th, 2010. Disambiguation is Underoath’s first album without founding member Aaron Gillespie, and this was my first time seeing them without Gillespie. I was very interested to see how they would perform their old songs and how Spencer Chamberlain would handle full time vocal duties. The set did not have the production value that Underoath shows in the past have had, but my assumption is the lower level production was mostly due to the economy and because The Triple Rock best serves for an intimate setting. With that in mind, Underoath’s performance was still as good as ever. Like Comeback Kid, Underoath has an extensive back catalogue of songs to choose from. They did a great job creating a set list that covered all their albums (or at least the albums since Spencer Chamberlain joined) and did a good job sneaking in slower songs in between the brutal ones. However, the set list in my opinion was not perfect. I very much dislike when fans at shows want bands to play only their older material. This show was no exception as many fans called for songs off of They’re Only Chasing Safety, the album that launched them into a larger fan base. However, I was hoping for more songs off of Define The Great Line which is arguably Underoath’s masterpiece. It had not occurred to me how many “slow” songs were on Disambiguation until I went to the show.

Regardless, Underoath still put on an amazing show and I had a great time. The concert reminded me of my youth but it also reminded me why I have been a fan of music and of the scene for many, many years. If you’re a fan of the hardcore, screamo, metal scene and have not seen Underoath yet, add it to the bucket list. You can thank me later.