#sugarcult tour

[archivedatl]

Coffeeshop Soundtrack, live in 2006 on The Sugarcult Tour

#all time low #sugarcult tour #2006 #live #video #put up or shut up #Alex Gaskarth #Jack Barakat #Rian Dawson #Zack Merrick

[warped-historian]

Warped Tour, 2004

Dates:

June 26: Dallas, TX

June 27: Selma, TX

June 28: Houston, TX

June 29: Las Cruces, NM

June 30: Peoria, AZ

July 1: Fullerton, CA

July 2: Fullerton, CA

July 3: San Francisco, CA

July 4: Las Vegas, NV

July 6: Chula Vista, CA

July 7: Ventura, CA

July 8: Wheatland, CA

July 9: Boise, ID

July 10: George, WA

July 11: St. Helens, OR

July 13: Vancouver, BC

July 15: Calgary, AB

July 16: Bozeman, MT

July 17: Salt Lake City, UT

July 18: Denver, CO

July 20: Milwaukee, WI

July 21: Maryland Heights, MO

July 22: Noblesville, IN

July 23: Cleveland, OH

July 24: Tinley Park, IL

July 25: Minneapolis, MN

July 26: Bonner Springs, KS

July 28: Atlanta, GA

July 29: Orlando, GA

July 30: Tampa, FL

July 31: Pompano Beach, FL

August 1: Jacksonville, FL

August 2: Charlotte, NC

August 3: Virginia Beach, VA

August 4: Bristow, VA

August 5: Burgettstown, PA

August 6: Camden, NJ

August 7: New York, NY

August 8: Englishtown, NJ

August 10: Hershey, PA

August 12: Quebec City, QC

August 13: Montreal, QC

August 14: Barrie, ON

August 15: Pontiac, MI

August 16: Cincinnati, OH

August 17: Columbus, OH

August 18: Darien, NY

August 19-20: Foxborough, MA

Lineup:

Anti-Flag (Played 6/29-8/19)

Billy Talent (Played 7/20-8/19)

Bowling For Soup (Played 6/26)

The Bouncing Souls

New Found Glory

NOFX (Played 7/1-8/8)

Simple Plan (Played 7/24-7/26 and 8/1-8/5)

Story of the Year

Taking Back Sunday

Tiger Army (Played 7/20-8/19)

The Used (Played 8/19)

The All-American Rejects (Played 6/25-6/29 and 7/29-8/1)

Alkaline Trio (Played 6/25-7/24)

Bad Religion

Coheed and Cambria

The Early November (Played 6/25-7/18)

Flogging Molly

Good Charlotte (Played 8/12-8/18)

The (International) Noise Conspiracy (Played 7/28-8/19)

Lars Frederiksen and the Bastards (Played 7/20-8/18)

The Sounds (Played 6/25-7/26)

Sugarcult (Played 7/20-8/19)

Thursday (Played 6/25-7/18 and 8/6-8/14)

The Vandals

Yellowcard

Allister (Played 7/20-8/19)

Atmosphere

Avenged Sevenfold (Played 7/20-8/19)

The Casualties

From Autumn to Ashes (Played 7/20-8/2)

Hazen Street (Played 6/25-7/18)

IMA Robot (Played 6/25-7/16)

Jackson United (Played 7/7-7/13 and 7/20-8/2)

Lilix (Played 7/13)

Mae (Played 6/25-7/18)

Matchbook Romance (Played 7/20-8/19)

My Chemical Romance (Played 6/25-7/18 and 7/24)

Piebald (Played 8/5-8/8)

The Red West (Played 6/25-7/20)

The Revolution Smile (Played 7/15-7/26)

Rise Against

Rufio (Played 7/20-8/19)

Senses Fail (Played 6/25-7/18)

A Faith Called Chaos

Alexisonfire (Played 8/12-8/19)

Another Damn Disappointment (Played 6/29-6/30, 7/8, 7/13-7/15 and 7/24-7/28)

Arkham (Played 7/9-7/13, 7/16-7/23, 7/29-7/31 and 8/6-8/10)

ASG (Played 7/1-7/8, 8/1 and 8/12-8/19)

Autopilot Off (Played 6/25-7/6)

Bleed the Dream (Played 7/20-8/2)

The Briggs (Played 7/24-8/19)

Chronic Future (Played 7/25-8/4)

Die Hunns (Played 6/25-7/6)

Don't Look Down (Played 7/7-7/18)

The Eyeliners (Played 6/25-7/2)

Fall Out Boy (Played 8/10-8/19)

Fear Before the March of Flames (Played 7/20-7/24)

The Fuck Ups (Played 6/25-7/18)

Go Betty Go (Played 6/25-7/23)

The God Awfuls (Played 6/25-7/15)

Guttermouth (Played 6/25-7/11)

Juliette and the Licks (Played 6/25-7/7)

The Kinison (Played 8/7-8/19)

Lennon (Played 7/28 and 7/30-8/7)

Letter Kills

Minority (Played 6/28)

Motion City Soundtrack (Played 7/16-8/8)

Potluck (Played 7/1-7/6)

Pulley (Played 7/7-7/18)

Rose Hill Drive (Played 8/8-8/19)

Side 67 (Played 7/15)

Single Frame (Played 6/25-6/27 and 7/16-7/28)

Washington Social Club (Played 8/4-8/19)

1208 (Played 7/11)

Amber Pacific (Played 6/25-7/13, 7/28-8/12 and 8/17-8/19)

Audio Karate (Played 8/4-8/19)

Before Today (Played 7/6)

Big D and the Kids Table (Played 7/20-7/26)

Black Fire (Played 6/25-6/30)

Black Furys (Played 7/3)

Bottom Line (Played 8/15-8/17)

Break Dance Vietnam (Played 6/25-7/6)

Break the Silence (Played 7/16-7/26 and 8/10-8/19)

Bytch Kiddy (Played 8/12-8/14)

Candy Ass (Played 8/4-8/10)

Carne Asada (Played 7/17-7/26)

The Code (Played 8/5-8/8)

Codie (Played 7/21-7/22)

The Commercials (Played 8/10)

Crowned King (Played 7/13-7/15 and 8/10-8/14)

Early Man

Eden Row (Played 8/16-8/19)

Eight Fingers Down (Played 6/25-6/29)

El Centro (Played 7/20-7/23)

El Nada (Played 7/24-7/26)

The Erks

Fear Nuttin' Band (Played 8/7)

Fighting Jacks (Played 7/8-7/9)

Happy Campers (Played 6/25-6/30)

Harpo (Played 7/22)

H is Orange (Played 7/1)

Holden (Played 7/2 and 7/7)

Hurry Up Offense (Played 8/4-8/7)

The Hurt Process (Played 7/1-7/11)

Insofar (Played 7/1-7/23)

J4 (Played 6/25-6/29)

Jersey (Played 8/7, 8/10-8/15 and 8/18-8/19)

Keg (Played 7/10)

Killradio (Played 7/16-7/26)

Lakeside (Played 7/28-7/29)

Losing Team (Playd 7/16-7/17)

Lylah (Played 6/25-6/29)

Madison (Played 7/28-8/8)

Madrepore (Played 7/4 and 7/7)

The Matches (Played 8/12-8/17)

Melee

Number One Fan (Played 7/18-8/19)

O're The Ramparts (Played 7/18)

Only Crime (Played 7/18)

Opiate for the Masses (Played 7/28-8/8)

Oreon (Played 8/16-8/19)

Pipedown (Played 7/7-7/10)

The Planet Smashers (Played 7/28-8/4, 8/10 and 8/15-8/19)

The Q (Played 6/30-7/8 and 7/31-8/3)

Reeve Oliver (Played 7/28-8/8)

Rolling Blackouts

Scatter the Ashes (Played 7/20-7/24)

Silverstein (Played 8/2-8/8)

The Skulls (Played 8/19)

Slowdance (Played 7/7-7/18)

Spell Toronto

Stereogram (Played 7/11-7/18)

Stole Your Woman (Played 7/8-7/13)

Suffocate (Played 7/20-7/26)

The Swear (Played 7/28)

Thought Riot (Played 7/2-7/6)

Truth In Fiction (Played 7/24-7/25)

Unit F (Played 6/25-7/2)

Van Stone (Played 7/4-7/7)

Victory Within (Played 7/10-7/18)

Wanted Dead (Played 7/1-7/8)

Windsor (Played 7/1 and 7/6)

Zox (Played 8/16-8/19)

A Thorn For Every Heart (Played 6/25-7/1, 7/6 and 7/24)

The Academy (Played 7/24)

All Rights Reserved (Played 8/5-8/8)

All That's Left (Played 7/29-8/1)

Away From Here (Played 7/13-7/15 and 8/12-8/14)

Bayside (Played 8/15-8/19)

The Bled (Played 7/29-8/8)

Brazil (Played 7/1-8/19)

The Break (Played 7/22-7/28)

Day Two (Played 7/16-7/18)

Deville (Played 8/12-8/14)

Don't Look Down (Played 7/20-7/26)

Dynamite Boy (Played 6/25-6/30 and 7/16-8/19)

Eighteen Visions (Played 6/25-7/15)

Emery (Played 7/9-7/11)

Facing New York (Played 7/4)

From First To Last

Hidden In Plain View

Kiros (Played 7/13-7/15 and 8/12-8/14)

The Matches (Played 6/25-7/11)

Moments in Grace (Played 7/31-8/3)

Northstar (Played 6/25-6/27)

Not Quite Bernadette (Played 7/17-7/18)

Over It (Played 7/16-8/4)

Plans for Revenge (Played 7/3 and 7/8)

Roses Are Red (Played 7/16-7/21)

The Silence (Played 7/2 and 7/7)

Silverstein (Played 8/10-8/19)

The Snake, The Cross, The Crown (Played 7/2 and 7/7)

Somerset (Played 7/25)

The Spill Canvas (Played 7/16)

Stars Hide Fire (Played 8/2-8/6)

Still Life Projector (Played 7/8)

Stimulator (Played 7/1-7/8)

Tokyo Rose (Played 8/15-8/19)

Trophy Scars (Played 8/7-8/10)

Underminded

Underoath

Yesterdays Rising (Played 6/25-7/30)

5 Knuckle Surprise (Played 8/13)

13 Attempts to Fail (Played 7/9)

21 Rest (Played 7/6)

1090 Club (Played 7/16)

A Common Threat (Played 7/16)

A Second Chance (Played 8/7)

Abandon All Hope (Played 6/29)

Abstract Giants (Played 7/24)

Addison (Played 8/3)

Aiden (Played 7/10)

Air Tight Alibi (Played 6/27)

Allotic (Played 7/6)

Ambry (Played 8/19)

Arms of Orion (Played 8/6)

Antik (Played 7/18)

The Aquabats (Played 7/1-7/2 and 7/7)

Arson Cried Fire (Played 8/17)

Athena In Hades (Played 7/8)

The Autumn View (Played 7/25)

Authority Zero (Played 6/30 and 8/1-8/5)

The Bank Robbers (Played 8/8)

Benton (Played 8/10)

Bentvalve (Played 7/4)

Best Interest (Played 7/2)

The Big Screen (Played 7/31)

Billy and the Lost Boys (Played 7/13)

Bop Skizzum (Played 7/18)

Bosio (Played 7/20)

Bowling For Soup (Played 6/25, 6/27, 7/18-8/10 and 8/15-8/19)

Box Elder (Played 7/29)

Broken Horizon (Played 7/1)

BXF (Played 7/11)

Calico Drive (Played 7/15)

Capital Tragedy (Played 8/17)

Capitol Speedway (Played 8/1)

Capone (Played 8/15)

Cellar Door (Played 7/6)

Chances Are (Played 7/8)

Cheap Suits (Played 8/14)

Cherry Bing (Played 8/18)

Chernobyl Kids (Played 8/4)

Clearmotive (Played 8/18)

Coat of Arms (Played 8/5)

Crooked Edge (Played 8/1)

De La Vega (Played 7/9)

Dead Society (Played 8/8)

Death in Graceland (Played 8/16)

Deep Enough To Die (Played 8/10)

Delay (Played 7/23)

Delinquent Monastery (Played 7/3)

Deville (Played 7/15)

D.O.R.K. (Played 7/18)

Dramatic Still Life (Played 7/16)

Drane (Played 6/26)

DV8 (Played 6/25-6/27)

Each on Set (Played 8/12)

ElseWorth (Played 7/2)

Emotional Distress (Played 8/13)

Ender (Played 7/15)

The Escape Engine (Played 8/8)

Existing Away (Played 7/19)

Fail to Follow (Played 7/17)

Fallen From the Sky (Played 7/31)

Falling Process (Played 6/29)

The Feds (Played 6/26)

The Felix Culpa (Played 7/20)

Fell Far Behind (Played 8/6)

Final Underground (Played 7/9)

Firekills (Played 6/27)

Forever July (Played 8/2)

Ghetto Lust (Played 7/1)

Good With Guns (Played 7/26)

Grand Poo Bah (Played 8/14)

Her Candane (Played 7/17)

Highland Drive (Played 8/18)

Hit The Lights (Played 8/16)

Holiday (Played 8/19)

How About No (Played 7/23)

Hydra (Played 7/2 and 7/7)

I Voted For Kodos (Played 7/20)

Ill Figures (Played 7/4)

In This Day (Played 7/29)

International Businessmen (Played 7/10)

Intro5pect (Played 7/1)

Jacobs Ladder (Played 7/31)

Jane Eyre (Played 7/7)

Johnny Action Figure (Played 8/10)

Johnny Psycho (Played 7/23)

Johnny Rock (Played 7/26)

Junior (Played 6/26)

Just For A Day (Played 7/31)

JV Allstars (Played 7/26)

Kane Hodder (Played 7/10)

Key to Arson (Played 7/8)

Kick Over The Traces (Played 8/8)

Kid Deposit Triumph (Played 7/4)

Kincaide (Played 7/13)

Last Action Zeros (Played 6/30)

Last Annual (Played 7/24)

Last Collapse (Played 7/1)

Left Alone

Legbone (Played 8/17)

Light the Sky (Played 7/2)

Logik (Played 6/30)

Losers Luck (Played 7/21)

Lucked Out (Played 8/8)

Ludo (Played 7/13 and 7/21)

Made of Koncentrate (Played 8/12)

The Malcontents (Played 7/22)

Minority (Played 6/26)

Minus Vince (Played 7/3)

Monday In London (Played 8/2)

Monty's Fan Club (Played 7/7-7/17)

Much the Same (Played 7/24 and 8/3-8/10)

My American Heart (Played 7/6)

The Nancy School (Played 7/22)

Nervous Nellie (Played 7/28-8/1)

New Tomorrow (Played 7/6)

No Red Flags (Played 7/11)

The No Talent Show (Played 8/3)

Not Long After (Played 7/11)

NSF (Played 8/12)

O'Doyle Rules (Played 6/25)

Oktober (Played 6/30)

One Mile Wish (Played 7/2)

One Way Letter (Played 7/28)

Once Over (Played 7/6 and 7/8)

Oreon (Played 8/5)

Pacer (Played 8/13)

Patent Pending (Played 8/7)

Pennyroyals (Played 8/8)

The Phoenix Rising (Played 7/24)

The Pink Spiders (Played 7/28)

Plan B (Played 8/19)

Pleased (Played 8/12)

Poopan (Played 7/7)

Powderburn (Played 6/27)

Praxxis (Played 6/25)

The Preps (Played 8/10)

The Prime (Played 8/8)

Punos (Played 8/2)

Quietdrive (Played 7/20 and 7/24-7/25)

The Radikills (Played 7/23)

Rain Fur Rent (Played 7/3)

Red With Envy (Played 7/8)

Reno Divorce (Played 7/18)

The Response (Played 7/20)

Rise or Rust (Played 7/25)

Rockett Queen (Played 6/25)

Rory (Played 7/29)

Rubberhead (Played 6/27)

Rudesquad (Played 7/30)

The Salads (Played 8/14)

Same Old Crap (Played 7/26)

Sarcasm (Played 8/7)

The Scrubs (Played 8/16)

The Second Track (Played 8/1)

Sedona (Played 8/2)

The School Play (Played 7/11)

Shadow Agency (Played 8/1)

ShotBlue (Played 7/1)

Side Out (Played 7/29)

Silence The Wake (Played 8/15)

Silent Opposition (Played 7/10)

The Skeptics (Played 8/19)

Skylar Blue (Played 6/25)

The Skyline (Played 7/21)

The Slurs (Played 7/22)

Sometime in April (Played 8/6)

Sometime Never (Played 8/7)

The Sophomore Year (Played 7/28)

Soulfound (Played 7/30)

Sound Riot (Played 8/4)

The Spicolis (Played 8/14)

Spil (Played 7/22)

Spit for Athena (Played 8/15)

Split Habit (Played 7/24)

Spoiler (Played 6/29)

Spun On Ambition (Played 7/16)

Still Life Projector (Played 7/3)

The Story Changes (Played 8/17)

Straight Forward (Played 7/7)

Strutmore (Played 6/26)

Suburban Shock Syndrome (Played 6/29)

Suburban Tragedy (Played 7/30)

The Swellers (Played 7/23 and 8/15)

Tabula Rasa (Played 8/5)

Tel Star (Played 8/5)

Ten Second Epic (Played 7/15)

Ten Years From Now (Played 8/3)

Thin Dark Line (Played 8/4)

Today's Not Tomorrow (Played 8/18)

Tokyo Rose (Played 8/7)

Trace Element (Played 7/7)

The Trademark (Played 7/17)

Tragedy Andy (Played 7/3)

Transition (Played 8/5)

Truly Sunday (Played 7/30)

Uncrowned (Played 7/28)

Underscore (Played 8/4)

Unlabeled (Played 7/13)

Unjust (Played 7/3)

Useless (Played 8/6)

The Utmost (Played 7/4)

Victim 26 (Played 6/30)

Viscera's Recital (Played 8/13)

Waiting for Daryl (Played 7/9)

Westcott (Played 7/21)

When All Else Fails (Played 8/3)

When Sparks Fly (Played 8/16)

Youth in Asia (Played 7/26)

Youthinasia (Played 8/14)

Arcane

Astronautalis and Mes

B-Girl Temper

Cellar Door

Community Service

Crisis Center

Icon

Immortal Technique

Kanser

The Lordz Of Brooklyn

Pearl Crew

Shankini

Shebang!

Sisters of the Underground

Bring Your Own Weapon (Played 6/30)

Calabrese (Played 6/30)

Casket Life (Played 6/30)

Half Empties (Played 6/30)

Point 9 Percent (Played 6/30)

Scary Kids Scaring Kids (Played 6/30)

Sidetracked (Played 6/30)

Groovie Ghoulies (Played 7/1-8/19)

The Phenomenauts (Played 7/1-8/19)

A Wilhelm Scream (Played 8/16-8/19)

Alone at 3am (Played 8/16)

Amity (Played 7/13-8/19)

Anadivine (Played 8/7-8/8 and 8/18)

As Tall As Lions (Played 8/10-8/13)

Bear Vs. Shark (Played 7/22-7/24 and 8/15)

Before Braille (Played 7/16 and 7/18-7/20)

Before Today (Played 7/13-7/18)

Boys Night Out (Played 8/2-8/19)

Days Like These (Played 7/16-8/19)

Day Two (Played 7/21)

Don't Look Down (Played 8/6-8/7 and 8/10-8/15)

Emanuel (Played 7/21-7/24 and 8/2-8/6)

Endicott (Played 8/16-8/17)

Facing New York (Played 7/13-7/17)

Fear Before the March of Flames (Played 7/18)

Fifteen Minutes Fast (Played 7/21 and 7/26)

Fire When Ready (Played 8/7-8/8 and 8/18-8/19)

From Here On Out (Played 8/14-8/15)

Haddonfield (Played 8/13)

Half the Battle (Played 8/14-8/15)

Halifax (Played 8/4-8/14)

Haste The Day (Played 7/22-7/24)

The Higher (Played 7/13-7/17)

In Passing (Played 7/29-8/1)

In Reverent Fear (Played 7/13-7/15 and 7/18)

Junior Revolution (Played 8/17)

Kiros (Played 7/16-7/17)

The Letters Organized (Played 7/28-7/30)

Lightweight Holiday (Played 7/13-8/19)

The Matches (Played 7/13-7/17, 7/23-7/25, 8/2-8/6 and 8/18-8/19)

Much the Same (Played 7/21-7/22 and 8/16-8/17)

Noise Ratchet (Played 7/18-8/1)

Nor Am I (Played 7/21-8/19)

Nuclear Saturday (Played 7/28 and 7/30)

Offset (Played 7/18)

Salt the Earth (Played 7/26)

Secret Lives of Freemasons (Played 8/1-8/3)

Silverstein (Played 7/25-8/1)

The Snake, The Cross, The Crown (Played 7/13-7/15)

The Softer Side (Played 7/29-8/1)

Socratic (Played 7/31-8/1 and 8/3-8/5)

Split Sense (Played 7/26)

Staring Back (Played 7/13-8/19)

Tokyo Rose (Played 8/8-8/10)

Tora Tora Torrance (Played 7/25)

Waking Ashland (Played 7/13-7/15, 7/20 and 7/25)

The Working Title (Played 7/29-8/1)

#emo #festival #rock #music #vans warped tour #warped tour #2000s #2004 #concert #anti-flag #billy talent #bowling for soup #the bouncing souls #new found glory #nofx #simple plan #story of the year #taking back sunday #tiger army #the used #the all american rejects #bad religion #alkaline trio #coheed and cambria #flogging molly #the early november #good charlotte #the (international) noise conspiracy #sugarcult #yellowcard

[blurry-fics]

More Than Friends

Summary: You and Tyler have always been close, but a spontaneous question before a show might bring you closer than you ever have been before.

Pairing: Tyler Joseph x Reader

Word Count: 1572

Warnings: Angst

Square Filled: Memory by Sugarcult

Author’s Note: For some reason it feels like forever since the last @bandombingo​ fic even though it’s only been a week? Anyway, I hope you enjoy this one! :) (picture credit)

“Think fast,” Tyler said, seconds before a tennis ball was flying at your face. To anyone else, Tyler’s antics might have been an annoyance, but you had known him long enough to grow used to it. You reached up and caught the ball before it smashed into your nose. Tyler sighed, “I’ll catch you off guard one of these times.”

You were currently sitting in Tyler’s dressing room, hanging out with him before tonight’s show. It wasn’t often that you had the chance to do so, but since they were playing in your shared hometown of Columbus, Ohio, you had managed to get the night off work so you could join them.

“It’s been four years and you’ve never caught me off guard once, what makes you think it will happen now?”

“I’ll find a way. Maybe I can distract you with my good looks.”

You laughed and playfully threw the ball at Tyler. He jumped out of the way before grabbing his white button down from the clothing rack. The tennis ball hit the wall with a dull thud and rolled along the floor.

Tyler laid the shirt out on the table and turned so that his back was to you. You watched as he stripped off his tank top and tossed it aside, trading it out for the button down. He hummed quietly as he worked away on the buttons.

“You got pretty quiet,” Tyler said. “Everything ok?”

“Yeah, I’m fine. Just enjoying the view.”

Tyler looked at you over his shoulder, the smile and blush on his cheeks clearly visible. You bit down on your lip and avoided his gaze.

You and Tyler had always had a weird relationship. Blatant flirting had been a staple of your relationship since day one, but there had never been any sort of label on it aside from “best friend”. Sometimes you entertained the thought of a relationship with him, but somewhere along the way the idea always seemed to unravel. There was something that wouldn’t work, someone who wasn’t ready, a tour that would keep you apart for too long.

So this is what you had.

“Can I ask you a question?” you filled the silence that had formed.

Tyler finished the last button of his shirt and turned around, his painted hands fiddling idly with the collar.

“Sure.”

“What do you consider me?”

Tyler’s eyebrows furrowed. “What do you mean?”

“Like… us. Who am I to you?”

You watched as Tyler swallowed hard. His hand moved from his collar up and around his neck, rubbing at the back of it. He pressed his lips firmly together before releasing them again.

“Who do you want to be?”

“I’m asking you.”

Tyler rolled his shoulders, shifting his eyes around the room. You had only meant it to be an innocent question, but Tyler’s reaction made it clear that it was more than that. Maybe it should have been left unsaid.

“You’re my friend,” he finally answered. “My best friend.”

You hesitated, thinking over the next words to come out of your mouth. There wasn’t much time before Tyler would have to be onstage and you didn’t want to leave him mulling over some half-finished discussion about the nature of your relationship.

“Is that all?”

“I go back to my original question,” Tyler said. “Who do you want to be?”

That seemed to be the million dollar question.

“Tyler! Five minutes until we’re on stage!”

Tyler reached his hands into his hair, grabbing at the strands with his fingers. His eyes squeezed shut, closing out the world around him. You stood up and closed the space between the two of you, gently grabbing his wrists and pulling them down towards you.

“I’m sorry, I didn’t mean to bring this up right before you went on stage. I thought we had more time.”

“It’s not you,” he shook his head. “There’s just… a lot of questions.”

“We can talk about them after the show. You need to focus right now.”

“You’re right.”

Tyler started to reach for his tie, but you caught his hand. “I’ve got it.”

He watched as you carefully flipped up his collar and slid the tie around his neck. Tyler was usually very particular about how his tie was done so that it was able to be undone easily during quick changes, though he had confessed to you once that you were the only person who was able to do it better than him. You could see him biting back a smile as you smoothed his collar back out.

“I’ll make you a promise,” you said as he grabbed his jacket from where it was thrown over the back of a nearby chair. “By the time you finish the show tonight, I’ll have an answer to your question.”

“I’ll have an answer too.”

You shook your head, “If you’re not careful, you’re going to end up confessing your true feelings to the arena instead of singing song lyrics.”

“Ok, no answer then.”

“Just focus on the show.”

“I can do that.”

You leaned towards Tyler and pressed a gentle kiss to his cheek. He smiled and wrapped his arms around you, pulling you into his chest. He smelled like a mix of laundry detergent and cologne.

“Alright, if I don’t get out there I’m going to get yelled at,” Tyler said, finally releasing you.

“You’ve got this, Ty.”

“And so do you,” he grinned.

After a quick fist bump, Tyler grabbed his mask and pulled it on while he ran out of the room. You hung back for a moment, not wanting to get caught up in the chaos of last minute changes and preparations. Once the show had started and things had settled down, you would take your place to the side of the stage to watch the show.

And think of your answer to Tyler’s question.

*     *     *

Tyler was beaming as he made his way off stage, heading straight in your direction. As soon as he was close enough, he threw a sweaty arm around your shoulders and pulled you into his side. You laughed and made a show of trying to push him away, even though you were enjoying being close to him.

“What did you think of the show?” he asked, grabbing a water bottle with his free hand. He reached all the way around you to unscrew the cap.

“I have to admit, I was kind of distracted the whole time.”

“By my good looks?”

“No.”

“My beautiful voice?”

“No.”

“By Josh?”

“No,” you laughed. “I was thinking.”

Tyler nodded as he chugged his water. You hadn’t initially realized that he was leading you back to his dressing room until your dark surroundings changed into the white concrete walls of the backstage hallways. Your heart started to pound in your chest as you realized the once-distant conversation was quickly becoming a reality.

Tyler removed his arm from around you once you reached the dressing room, instead moving to grab a towel to wipe away some of his sweat. You took a hesitant seat on the couch, not quite relaxing back into it.

“Whenever you’re ready,” Tyler said, rubbing the towel along his forehead. “Let me have it.”

You clasped your hands, nervously rubbing your thumb along the side of your finger. The answer was so clear in your head, but you were unsure of how Tyler would react when you finally said. It was a feeling that you had never expressed out loud before, not even to yourself. It had stayed buried deep inside your heart.

“I want us to be more than friends.”

Tyler’s eyebrows raised and he slowly dropped the towel away from his forehead. You started to rub at your finger harder, patiently - or rather, impatiently - waiting for his answer.

“You do?”

“Mhmm.”

Tyler bit down on his lower lip, shifting his gaze away from yours.

“You aren’t scared?”

“Scared of what?”

“That we might,” Tyler paused, rubbing a hand along his forehead, “that we might ruin what we already have.”

Your eyebrows furrowed, “What do you mean?”

“You mean so much to me, Y/N, and I’m terrified of messing that up. What if we do this for real and then it all goes down in flames? Am I just going to lose you forever then? The thought of it just…” He shook his head.

“But who’s to say that something won’t happen even if we aren’t dating? The future is unpredictable and relationships can change in an instant. I don’t think it’s fair to either of us to throw away a chance at a great relationship just because we’re afraid that we might lose one another in the process.”

Tyler spoke softly, “I don’t want you just to be a memory. I want you to be here, in my life, forever.”

“I will, Ty. That’s a promise.”

Tyler was on the couch next to you in an instant, wrapping a hand around the back of your neck and pulling your lips to his. You caught yourself with his t-shirt, clutching it in your hand so that you could hold him close. His lips were soft and tasted faintly of sweat, but you couldn’t bring yourself to care.

“I love you,” Tyler whispered into the space between your lips.

“I love you too.”

With that, he pulled you into another kiss and held you close. It was the first of many happy memories.

#bandombingo-r1 #tyler joseph #tyler joseph x reader #tyler joseph fanfiction #twenty one pilots #tyler joseph fluff #tyler joseph angst #tyler joseph imagine #tyler joseph drabble #twenty one pilots fluff #twenty one pilots angst #twenty one pilots imagine #twenty one pilots drabble #skeleton clique #bandom bingo #blurry-fics

[hamonsurveysoverdrive]

Imbibe

Do you have tea bags in your room? No. Who’s your worst enemy? Myself. How often do you drink Monster? Way too often. How many periods/blocks does your school have? N/a When was the last time you talked to your fourth best friend? Uhhhh How many times has your most played song been played? Not looking. Do you have any posters on your walls? A few. Is your cell phone dead? No. How about your iPod? N/a Do you own any hair extensions from Hot Topic? lol No. Are you going to the mall tomorrow? God, I hope not. What are you afraid of? Whales, death, etc. Firefox or IE? Firefox, but I use Chrome. Does your computer beep for no reason at any random time? No? Do you borrow CDs from your public library? No. 7-11, Sheetz, WaWa, or Starbucks? 7-11. Why is there a water bottle sitting on your dresser? Probably lol What color do you want to dye your hair? I don't. How often do you watch NBC? I don't watch live TV. Do you have a YouTube account? Yes. Have you ever made totally pointless videos with your friends? No. Do you need to buy a new gluestick? No. How often do you shop at Dollar General? Like, never. Have you ever lived right behind a McDonald’s? No. Do your pets like to destroy the house? My cat does. What’s your favorite sad song? Ain't No Sunshine. Do you like to buy those Warped Tour compilations? No. What’s your current MySpace profile song? lol Do bunnies roam around your backyard at night? I don't have a backyard. Are the windows in your bedroom open? Nope. Was it 70 degrees where you live on Thursday? It's about that today, yes. Do you eat candy canes even when it’s not Christmas time? No. What do you want to name your kids? I've already named them. How many people do you know that currently have a cast on their arm? Zero, that I'm aware of. When’s the last time you did the Macarena? No idea. Look at the floor. What’s the first thing you see? A towel. Do you personally know any authors? Not published. How many pillows are on your bed? Two. What band have you listened to the most the past couple of days? No clue, maybe Sugarcult?

#survey #surveys

[idkhowbr]

Rock Sound: Finalmente chegou a hora do álbum do iDKHOW! Aqui, Dallon Weekes fala sobre a criação do “Razzmatazz” em suas próprias palavras...

Entrevista original: James Wilson-Taylor / Rock Sound (edição 271) Tradução: equipe iDKHOW Brazil Fotos: Lauren Perry

Nós aprendemos muito fazendo o EP “Com o EP, tudo era ainda tão novo. Acho que levei um minuto para me reencontrar, encontrar minha própria voz e eu mesmo dentro do papel de frontman e cantor, porque isso nunca esteve na minha lista de desejos. Não foi algo que eu sempre tive como objetivo, ter minha própria banda ou ser um frontman ou cantor ou qualquer coisa. Era a única maneira de conseguir fazer minhas músicas. Tudo o que fizemos até agora foi meio que por necessidade. Nós nos apresentando como dois integrantes foi porque ambos éramos empregados em outras bandas na época, então agendar nossos shows secretos foi muito mais fácil. Isso tornou as coisas muito mais simples e parecia funcionar bem, por isso continuamos a fazer dessa maneira. Tem sido uma grande curva de aprendizado… no primeiro ano que fizemos isso, fizemos em segredo e apenas negamos que sequer existíamos. Isso nos permitiu contornar todo aquele título de "ex-integrante da banda...", nos encontrar tocando para uma sala cheia de estranhos que não sabiam ou não se importavam de quais bandas viemos. Isso nos permitiu encontrar nossos próprios papéis dentro dessa coisa nova, sem telefones gravando constantemente cada movimento nosso. Foi um processo de aprendizado porque durante muito tempo nós dois fomos relegados a essas funções muito específicas, onde você não pode fazer isso e não pode fazer aquilo. Com essa banda, de repente não há mais regras, então nos vimos tentando as coisas conforme avançávamos e algumas delas funcionaram e outras não. E as coisas que funcionaram, nós nos agarrávamos e elas nos deixavam acender algo e nos permitiam talvez… “nos encontrar” é um pouco forte, mas talvez apenas lembrar de nós mesmos um pouquinho mais.”

Nós construímos uma base de fãs (fanbase) para esta banda “Isso é realmente muito importante para nós, porque sabíamos que seria muito fácil sair do portão agitando uma grande bandeira dizendo "ex-integrante da banda...". Isso já foi feito antes, muitos outros artistas deixaram bandas de sucesso para fazer um projeto paralelo ou para seguir carreira solo e nem sempre dá certo. E nós meio que estudamos pessoas que já fizeram isso antes e o que funcionou para elas e o que não funcionou. Eu meio que cheguei à conclusão de que você não pode fazer as pessoas se importarem com o que você está fazendo - não existe lealdade à marca dentro do rock 'n' roll. Então a melhor maneira de construir essa coisa seria do zero, como qualquer banda faria, do melhor jeito que pudéssemos, porque sabíamos que, assim que a notícia começasse a se espalhar, e assim que começássemos a admitir que isso era real, muitas pessoas nos dariam uma chance só por causa desse fato. Mas, curiosamente, descobri que há muitas pessoas que não nos dão uma chance exatamente pela mesma razão. Então é esse estranho dois lados de uma moeda.”

Algumas dessas músicas já vem de muito, muito tempo. Como “From the Gallows” “A demo para essa música era um jazz dos anos 1930, no estilo “The Ink Spots”. Assim que a levamos para o estúdio, ela evoluiu um pouco e acabou se transformando em um “Lawrence Welk com ácido”... Lawrence Welk era esse velho sujeito, um imigrante que tocava música pop dos anos 30 e 40 na TV nos anos 70, para um público que estava principalmente na casa dos 60 e 70 anos. Então era muito, muito suave, extremamente caucasiano - da forma mais charmosa possível - eu diria. É um show muito inocente. Mas a música "From the Gallows", que é meio obscura nas letras, nós a levamos para aquele lugar sonoramente e acho que deixamos cair um pouco de esquisitice no produto final. Eu realmente amo como ficou.”

O álbum foi produzido pelo vocalista do Sugarcult (Tim Pagnotta) “Foi interessante porque quando se trata de coisas como pop-punk, eu perdi tudo isso. Eu nunca fui um fã, nunca me tocou. No início dos anos 2000, quando o pop-punk era enorme, eu ouvia bandas como “The Killers”, “Louis XIV”, “I Am A Robot”, “Franz Ferdinand” e todas essas coisas indie e hipster. Então, toda essa coisa da “Warped Tour” e do pop-punk, nunca se ligou a mim. Nunca ressoou comigo. Mas o Tim Pagnotta teve muito sucesso fazendo isso. O terreno comum entre nós dois quando se trata dessas vizinhanças musicais era a base da música pop. Ambos os gêneros têm isso em comum, então foi por aí que começamos. Ele foi muito generoso ao me dar oportunidades de fazer arranjos musicais estranhos, e experimentar métodos e sons estranhos e outras coisas, o que é algo que nunca tive a oportunidade de fazer antes, mas sempre quis fazer. Mas sempre que estive em um estúdio, o que aconteceu apenas duas ou três vezes antes, era sempre muito apressado e muito focado, e nunca tive realmente uma oportunidade de responder àqueles pontos de interrogação que pairavam sobre todas as minhas ideias. Se essas ideias funcionavam ou não, Tim me encorajou a persegui-las. E as que funcionaram, nós mantivemos, e quando não funcionaram pelo menos nós respondemos a pergunta. Portanto, eu não preciso me perguntar: ‘E se tivéssemos tentado isso?’”

“Clusterhug” foi originalmente feita para o Panic! At the Disco, depois teve uma demo com o “The Brobecks”... e agora está no álbum “Eu nunca posso deixar algo ir até que tenha a chance adequada de ser realmente alguma coisa. E esse foi certamente o caso de "Clusterhug". Eu escrevi essa música e ela acabou ficando muito estranha para estar no “Too Weird To Live, Too Rare To Die”. Mas ainda assim eu amei tanto que não conseguia deixar de lado, então eu acabei lançando a demo que fiz como “The Brobecks”, porque essa era minha única outra saída criativa na época. Ainda assim, ela estava em um site do “Bandcamp” e ficava neste cantinho estranho da internet onde apenas um punhado de pessoas já tinha ouvido. Então, para mim, foi como se essa música azarada nunca tivesse tido a chance de estar no centro do palco e ser ouvida. Então, quando chegou a hora de começar a coletar ideias, essa nunca realmente me deixou. Era a azarada, e eu também me sinto como um azarado, então tive que dar a essa música uma outra chance adequada.”

"Kiss Goodnight" são todas as nossas influências dos anos 70 e 80 juntas “Eu definitivamente tenho uma afinidade com as coisas com as quais cresci e que me tocaram quando era criança. Os anos 70 e 80 foram provavelmente a maior influência, pelo menos para este álbum. Não estou realmente interessado em ser um revivalista, por mais que eu adore essas coisas. Mas essa música em particular eu acho que vive um pouco mais naquela época do que qualquer outra música. O tema me pareceu muito romântico e quando penso romanticamente, musicalmente, minha mente vai para o “The Cure”. Acho que essa era a vibe que eu estava perseguindo quando estabelecemos isso. Essa música em particular é sobre a época em que conheci minha esposa pela primeira vez e nós dois realmente amamos o “The Cure”, e é uma daquelas pequenas conexões que compartilhamos. Perseguir essa vibe pareceu muito apropriado para essa música.”

Trabalhei na canção "Need You Here" com minha filha, e levou uma eternidade para escrever “Tive essa ideia pelo que pareceu uma eternidade, pelo menos o começo da ideia, por muito tempo. E quando minha filha era muito pequena, sentei-me com ela com um microfone e apenas tive uma conversa com ela sobre o fato de o pai estar em turnê, e acabei recebendo dela esta palavra falada realmente adorável. Fiquei com a ideia para sempre, porque toda vez que eu tentava sentar e desenvolvê-la mais para trabalhar nela, aquela parte surgia e eu simplesmente berrava como uma garotinha! Eu simplesmente chorava e era difícil para mim passar daquele ponto. Então essa provavelmente foi a que demorou mais para eu escrever. Quando a ideia foi desenvolvida e concluída, ela já estava um pouco mais velha… Eu descobri por acaso que ela é uma cantora muito, muito talentosa. Não é um talento que ela já tivesse realmente compartilhado comigo antes, eu apenas a ouvi no quarto dela gravando um TikTok ou algo assim. E eu fiquei tipo: "Uau, minha garota sabe cantar". Então eu falei com ela sobre isso e ela ficou meio tímida e ficou um tempo sem saber se queria fazer. Eu não a pressionei. Acho que eventualmente ela veio até mim e disse: "Sim, pai, acho que quero cantar a música com você". Essa música em particular tem dois períodos da vida dela - a parte falada e a parte que ela canta comigo. Essa música é realmente muito especial. Ela é a artista convidada do álbum.”

O álbum se chama "Razzmatazz" porque bem... “É um pouco de história. Só estou familiarizado com a própria palavra por causa dessa série de TV sobre educação musical que era exibida para mim e meus colegas de classe quando eu estava no ensino fundamental. Havia um dia por semana em que o professor empurrava aquela grande TV amarrada em um carrinho e colocava uma fita VHS de um programa de TV público canadense chamado "The Music Machine" (A Máquina de Música). E a apresentadora do programa, ela sempre começava cada episódio pedindo a esse computador gigante, a máquina de música, para tocar um pouco de razzmatazz para nós. Eu nunca esqueci essa palavra. Desde que gravamos a música e nomeamos o álbum, eu fiquei mais atento de que outras pessoas também usam esse termo, como por exemplo a banda “Pulp” que tem uma música chamada “Razzmatazz” que eu não conhecia, o que me surpreendeu porque sou um grande fã do Jarvis Cocker (vocalista) e também do “Pulp”. O “Jamba Juice” tem um shake chamado “Razzmatazz” também… mas "Razzmatazz" foi a última música que colocamos no álbum. Senti que era uma boa declaração de encerramento para todos os temas que conversamos no álbum. Para mim, foi provavelmente a ideia mais empolgante que tivemos em todo o processo de fazer esse álbum, então ficou uma boa faixa-título. Acho que a definição no dicionário é sobre algo grande e vistoso, que tem o objetivo de impressionar ou distrair, e não é sobre isso que se trata todo esse negócio da música e do jazz em Hollywood?”

O álbum de estreia do iDKHOW, “Razzmatazz”, será lançado dia 23 de outubro pela Fearless Records.

As fotos exclusivas da matéria você pode conferir no nosso perfil do Instagram (link pra foto 01 e link pra foto 02)!

#idkhow #idkhowbrazil #rocksound #dallon weekes #Ryan Seaman #Razzmatazz #idkhowbuttheyfoundme #entrevistas

[washingtonsqpark]

🎵 she got arrested by the interrupters

It’s alright! The Interrupters are a band I don’t really listen to, but they’re the kind of band I’d watch at warped tour if I had nothing to do, ya know? That’s the vibes I always got from them.

“Champagne” - Sugarcult

Honestly I don’t even know how I got into them but it was probably like 04/05ish when I was listening to stuff like Green Day, Good Charlotte, Simple Plan. Idk they have some good under appreciated songs.

//send me a song rec and i’ll rate it, then shuffle my music and talk about the song that comes up!

[bthenoise]

Q&A: Bert McCracken Details The Used’s Hard-Hitting Yet Poppy New Record ‘Heartwork’

Let’s face it: For nearly 20 years now, The Used has solidified themselves as one of the best bands of our generation. Since the release of their 2002 self-titled album, the SLC punks have strung together an unparalleled discography of angsty, thought-provoking music fueled by anger, growth and love. 

Gearing up to release their eighth studio album Heartwork on April 24th, Bert McCracken and Co. are as hungry and humble as ever as they prepare to usher in a new era of the band.       

“There's something about approaching 20 years as a band and approaching 40 as human beings [where] we're desperate to keep this place in music,” says McCracken. “We're humbled by the amount of years we've had so far and we couldn't feel more fortunate or blessed or however you look at it. But I feel like if we were to slow down even a second or if we were to take it for granted for even one second, we would deserve to have it taken from us.”

Putting that restored energy into their upcoming 16-track album produced by longtime collaborator John Feldmann, McCracken suggests this might just be the best Used album yet.

“I think this whole new record is going to be a surprise for a lot of people. I think it's the best of the best of The Used,” he says. “It has our heaviest stuff ever that we've ever released. There's even a song that's way heavier than ‘Blow Me’ featuring Caleb [Shomo] from Beartooth. And then there's the poppiest stuff that The Used has ever done. There's like some kind of disco tracks on the record and stuff. There's a lot of slap bass. It's crazy like it's all over the place. So yeah, we're really excited.”

To read more from our chat with McCracken as we helped cap off the band’s entirely sold old North American tour, be sure to see below. Afterward, make sure to pre-order Heartwork here.

We're on the last day of your small club underplay tour. What’s the experience been like for you getting to play these small, intimate shows again?

BERT MCCRACKEN: Incredible. A lot of the shows, we come into the venue in the late afternoon when I get out of bed and I recognize the club from 18-19 years ago. Yesterday, at Sunshine Theater in New Mexico, we played a show [there] on our very very first tour ever with Goldfinger, Reel Big Fish, Sugarcult and The Used opening up the show. So it's been incredible nostalgia. It's been exactly what I think rock and roll and punk rock music is all about -- right up close, in your face, sweaty. It's that feeling of togetherness that comes from a small club vibe that you kind of don't get anywhere else that's so special, especially with a band like The Used. We're a band about feelings and the bigger picture and we take music very seriously. It's been incredible. I can't believe it's already over. Time flies when you're having fun.

Do you miss that intimacy you get with these smaller shows?

Yeah, a lot of times you would if you're on a big festival run and you've been doing outside shows with the crowd, maybe 15-20 feet away for months. It's always different parts of it that are really cool. Playing to a gigantic crowd has its own pluses but this is definitely our favorite. This is where we started out. This is where it kind of becomes a competition with yourself. I'm not a young kid anymore, so I know what these clubs are going to be like. I know what the bathroom situations are going to be like [laughs] and I know what I expect of myself with a small crowd like this. I know what I would want to see if I came to see The Used. So it's about throwing it down really really furiously as hard as you can.

It's funny you say that considering you're playing some newer songs on this tour like “Blow Me” which is one of the heavier songs you guys have released. What’s it been like playing that song and getting to see the fans react a few feet away from you?

It's incredible, man. It's such a cool diverse mix of kids. To see girls moshing is always fun. When we take new songs out on the road sometimes, it takes quite a while to figure out the song live but “Blow Me” and “Paradise Lost A Poem by John Milton” both feel like we've been playing them for 10 years. It's magical and mysterious why it feels like that. But I think this whole new record is going to be a surprise for a lot of people. I think it's the best of the best of The Used. Like you said, it has our heaviest stuff ever that we've ever released. There's even a song that's way heavier than “Blow Me” featuring Caleb from Beartooth. And then there's the poppiest stuff that The Used has ever done. There's like some kind of disco tracks on the record and stuff. There's a lot of slap bass. It's crazy like it's all over the place. So yeah, we're really excited. We all love such different types of music so seeing the difference for us is important. And that live experience, whether it's heavy or completely melodic, is so fun. I think The Used is a live band first.

Do you find yourself still listening to much heavy music these days?

A hundred percent. I think my most listened to record last year was A Different Shade of Blue by Knocked Loose. One of the best heavy records that's come out in forever. It was so reminiscent of stuff that I loved in the late 90s. So yeah, I listen to a little bit of a lot of everything.

Do you think that helped inspire some of the heavier songs on this record?

Yeah, a hundred percent. I mean, I was a hardcore kid growing up. My favorite bands were Coalesce, Converge, and Ink & Dagger. If it wasn't that heavy, then I was kind of like a prick and a punk about it. I was one of those kids [laughs]. So yeah, my world and my background is soaked in heaviness but then again, some of the other guys like Jeph [Howard, bassist] are very very diverse. He loves heavy music. He loves like Mr. Bungle and stuff that's heavy like that but he loves crazy eccentric tribal stuff and cultural stuff so it's a really cool kind of flow. Dan [Whitesides, drummer] loves rock and roll music, like rock and roll, like butt rock almost. I think he would say, if he had to pick a band, Mötley Crüe is his favorite band. And Joey [Bradford, guitarist] is all over the place. Joey's the youngest guy in the band and he loved The Used growing up. He loved bands like that and he loved punk rock and it's a perfect fit. All those different elements kind of create something special.

Do you think having Joey on this record helped instill some energy in the band a little bit?

I think we were in that place maybe before Joey came around. I think The Used has been firing off insanely for the past couple years. There's something about approaching 20 years as a band and approaching 40 as human beings [where] we're desperate to keep this place in music. We're humbled by the amount of years we've had so far and we couldn't feel more fortunate or blessed or however you look at it. But I feel like if we were to slow down even a second or if we were to take it for granted for even one second, we would deserve to have it taken from us. So yeah, I think Joey is the perfect candidate to jump into this vibe because he's driven, he's passionate and you kind of get swept up in my ambition and my drive if you're not careful. I've never been more healthy or happy and that creates such a beautiful kind of cohesiveness with the band.

We know you've been focusing more on your fitness and health lately. Has that helped with your songwriting and maybe your energy on stage at all?

100%. It helps with everything. What I found that helps and why I became obsessed with the gym is the after-effects. The endorphins I feel when I leave, it's almost a perfect cure for depression if you take it seriously. Those dark thoughts that become even darker and the voice in your head that can slowly convince you that you're not good enough -- that guy doesn't come around when I'm keeping to my workout routine. That guy stays buried in the mountain of positivity I've built. Also, I got this insane type of focus. I like to read a lot. And whenever I read after I work out, I have this insane concentration, insane focus, I can just read for hours. So there are so many benefits from it.

Does it make you wish you got into it sooner in life?

Of course. But it's hard to look at life that way. I think a lot of the reasons why The Used is special is because people have followed the journey of the ups and downs. You know, there's a lot of dark times but I think that I wouldn't be me if it wasn't for those specific moments.

Talking about some of those ups and downs, 2017′s The Canyon was a very personal record for you. Do you think getting that record off your chest so to speak helped you come closer to this positivity for the new record?

I think so, yeah. A lot of the process from a record is just a snapshot of a moment in that band's life. And what was going on in my life [at the time] was very tragic. I just lost one of my best friends and had the opportunity to make a record that was like an art experiment in grieving and see how far I could take it and how personal I could get and how open and honest with myself and specific even. So it was painful and brutal. The other side of it was we did it all to tape, so it was like we had to really actually be in the moment playing it. So we learned a lot. We would never do it again. It's one of these like religious moments for our band. It was very spiritual with Ross Robinson, who was very out of this world. I learned that the way humans connect to music is on a personal, individual level. It's only as important as you make it in your own life. That’s why I think The Used fans are so special because it is live [or] die for most of us.

Going back to Heartwork, one thing we’re sure that helped bring a lot of positivity to the album was working with John Feldmann again. What was that process like?   

It was the most relaxed and excited and focused I've ever felt in the studio. He's come full-circle with who he used to be as well. We all changed quite a bit. The John Feldmann that's leftover is the John Feldmann that is the hardest working individual I've ever met. He is the most passionate, the most dedicated, but he also has this newfound relaxed ability to just chill out and have a great time. So some of the focus going into this record was like, let's just make songs that are fun. Let's have fun doing it. Let's not put any expectations on anything. Whatever happens, let's try to say yes to everything. Even the stuff we might not have said yes to in the past, let's say yes to all of it. So he was the perfect kind of facilitator for all of those things. He's driven and he trusts the band just like we trust him.

One of the things you said yes to was guest features from the likes of Blink-182, Beartooth and FEVER 333. All of them have worked with John Feldmann in the past. Was he the one that brought those to the table?

Yeah, Feldmann has like a working machine in his studio that's incredible. He has this flow to things, like a song-a-day-type situation. He's become really close with the Blink guys since he worked on their record and we have toured with Blink in the past. So the first impressions were already beautiful, like, we've already developed relationships with the guys individually. So that was definitely not one of the things where I was like, “I don't know...” It was some of the more -- you'll hear it in the record -- some of the more pop moments that could be the most modern moments on the record. Something that a hardcore kid would have a hard time saying yes to. But working with Travis [Barker] was insane. He's the most beautiful, humble guy. I think he has a reputation for being this hardass just because he's such a quiet and chilled-out dude. And Mark [Hoppus] as well, just one of the nicest people you could meet. So humble, I mean who hasn’t heard of Blink-182 in this world? They’re massive. So yeah, to be able to kind of pick his brain in the process, we had a blast. Caleb from Beartooth recently has worked with Feldmann as well. So yeah, all those connections were kind of serendipitous. Really, really awesome that it happened that way.

Looking at the tracklist for Heartwork, there's one song specifically we want to ask you about. It’s called “Wow, I Hate This Song.” Can you touch on that a little bit?

That is a song I have been kind of dreaming into existence for the past like 12 years. There are so many songs I hate in the world and I have a lot of fun hating things. Cynicism is such a blessed entertainment at times if you're not being totally serious. You can see things for what it is -- and not to take anything away from the importance of music because everything is special to someone for some reason. But when I turn on satellite radio or when I'm just like scrolling around on any streaming site, it's like, “Holy shit. How the fuck did we get here?” Like, “This is the worst garbage I've ever heard.” So [“Wow, I Hate This Song”], it's super heavy and there’s this riff in it that's brutally heavy but it's also this super catchy, almost pretty wonderful song. So yeah, it's been a thought in the making for quite a long time. Finally nailed it down, so excited.

Being in a band for about 20 years, you can probably point out pretty well when songs aren’t very authentic and written for other purposes. Does it bum you out when some of those songs get so much notoriety?

I think in a way it speaks for itself because you can kind of get the gist of something and then if it blows up, it's only a matter of time before it completely disappears. I think there are only a few things that can become huge and stay relevant. I think The Used has always had a really cool way to avoid that trap that gives you the one hit song where it's almost like a career-ender. But yeah, it's all a part of it. I've never been a fan of hugely popular music other than when I was a child. I loved Michael Jackson and Whitney Houston, pop music in the 80s. But since then, my favorite bands are bands that don't have a lot of listeners per month. It's not like 9 million, it's more like 130,000 people listening to Converge a month. So yeah, for me, I don't really pay too much attention. I like to listen to all of it because I appreciate great production and great melody no matter who wrote it. I think we're getting to a point in digitally recorded music where everybody has the same tools and the same plugins [where] it's kind of come back on the artists now. It's like you got to actually be able to do it again. Things like Dua Lipa and these pop songs... anybody could build those tracks in their room. So if the artists' personality is there and you can tell someone can really sing right away -- I think we're coming into a cool place again.

It seems like 2020 could be a whole new decade where the cream rises to the top and people start to recognize what's good and what's not.

I fully agree, man. It's an exciting time for music. There's a huge resurgence of music that's backed by emotions, about the bigger things in life, not so much about how much money you have and how many bitches. We had 10 years of that. I think everyone's just like, I just want to feel something.

Interestingly enough, a lot of bands like My Chemical Romance, Rage Against The Machine, The Receiving End Of Sirens, Armor For Sleep are all coming back. It's pretty cool.

Yeah, either they're bored of just whatever they've been up to or... [laughs]. It's tough once you're on stage, once you've done it, to walk away from it for good. There's something so special about the whole process, about the setup of the show, then you're waiting around to play and there's this nervous excitement. I fully understand why if you were in a band you'd want to come back and do it, especially right now. This time for music is so cool. And any little bit of hype around the type of music we play is only good for music fans, I think. It's awesome, cooler tours and more fun experiences live. Those are the memories you keep. I think we've been saying it a lot during the show: If we can close our eyes and capture this moment, when we're out there dealing with the real shit in the fucking Trump America and all that, the whole world of it, we can maybe revert back to these moments and take some positivity from it and take some value in our own lives and know “Yeah things are rough, but there's a place for me.”

#The Used #Heartwork #Bert McCracken #Interview

[fght-ff-yr-dmns]

ALLiSTER - Somewhere On Fullerton

Growing up, the band Allister were one of my very favourites.

This song in particular meant the world to me, as did their album Last Stop Suburbia.  

It was released during the so called ‘golden age’ of pop punk, when Drive Thru records reigned supreme and bands like The Starting Line, Sugarcult and Something Corporate were arguable at their prime. 

Next year Allister are releasing a greatest hits collection, but there’s a catch. They don’t own the rights to their first few albums so can’t use the original music! So they’ve gone back and re-recorded them from scratch! (pun very much intended).

Above is the music video for the re-recorded version of Somewhere on Fullerton and despite my initial scepticism, I absolutely adore it. It took me back to 2003 in a heartbeat and I love that it sounds just that little bit different yet still evokes the same emotion. The landscape of pop punk is a very different place these days and sadly there’s not many around who use this site that remember 2003 (yes, i’m fucking old).  Yet whether you’ve heard of Allister or not, if you love pop punk I implore you to check it out. Here’s to hoping for a UK tour in 2019!

#allister #somewhere on fullerton #music #pop punk #drive-thru #awesome

[def-march]

heyo! i'm kinda curious about something, what style of music do def march play? if there's any real world bands/songs similar to what they'd play i'd be really interested in hearing about that. anyway i hope you have a nice day dude!

SHAKES WITH ANTICIPATION

Everything is under the cut because this turned out really long!!

I haven’t really found THE band that they sound like, their style ranges a LOT and evolves throughout the years; they experiment and adapt but they always make an effort to stay true to their roots. I imagine they have a lot of faster paced songs, but also songs that are gritty and growly, thanks to Sev’s impressive vocal range.

Three bands really come to mind with the bands’ “style,” Sixx A.M and Egypt Central, which is closer to the metal/sock sound I incorporate the band with, and Sugarcult, which is closer to their originating “faster” punk sound. These three bands fit into Seven’s singing vocal range, so naturally they’re all his singing voice claim. (Strangely, I just realized that this is pretty much a range from Sixx A.M to Sugarcult, with Egypt Central in the middle…….huh)

Another band that makes me think of Def Märch is Silent Theory

It’s how I imagine 777 rapping basically. Its growly. 10/10

When Seven was still living in Los Angeles county, he did have a shitty garage band for a while with some friends, and their sound was closer to Descendants. A little unrefined, but I think the vocals almost sound pubescent (im so sorry Milo, it’s the truth.)

I specified singing voice claim, because surprisingly, I don’t imagine my Seven to sound like any of the vocals from any of the bands when he was talking. He sounds closer to Nikki Sixx, the bassist of Sixx A.M. (Alongside Sixx A.M, he is part of a band that’s more well known, called Mötley Crüe, which was mostly active during the years 777 was alive! I think it’s fitting regardless.)

For the other two members of the band, their talking voice claims are the same person as their singing ones. (Partially because I’m lazy, partially because I haven’t found anything that fits better for BJ especially;) yes, the whole band is capable of singing, and sing backup, but 777 is still the lead. (However, ever since BJ complained about wanting to sing more in Week 2, the band has made an effort to include at least two bonus tracks, one from both Tenho and BJ respectively, on each album where it’s only them singing.

Tenho’s sounds exactly like VAMPS, even down to the music composition. He would be definitely into heavier sounds like 777 is, and also like 777, he has a powerful set of lungs, but his voie doesn’t cover much of a range. I wanted to pick a singer who is Japanese, because I’m like that for authenticity, and Hyde (the guy with long hair in the interview) fits the bill perfectly. Ironically, (VAMPS also had a tour with SIxx A.M. Wild.) Though, unfortunately, I think Tenho would have to end up straining his voice for that sound, because his voice isn’t naturally gritty like Seven’s.

For BJ, I feel like his voice would be the least refined so I think Scarlet White (the linked song is also BJ’s theme lmao) fits him tremendously! (idk how to describe it otherwise…inexperienced??? bruh, you really just have to listen to them to get what I’m saying.) A lot of their music isn’t that heavy, imo, (some is though, don’t get me wrong) but it’s usually only the intro that’s loud and in-your-face. Scarlet White may be a Christian Rock band, but BJ is agnostic. As much as I like Scarlet White, I find that their lyrics are very repetitive, but like, in not a good way; I can only listen them for short periods of time before their songs start to blend together. It would also be a fault of BJ; that song styles aren’t really changed up. It’s unfortunate fr the band, because I think they had lots of potential.

TLDR: The band is a big mish mash of other bands I like.

#like-a-bolt-from-the-blue #META POST:|| platinum album #the SHOW must go ON:|| HEADCANONS #THANK U SO MUCH FOR INDULGING ME #each mention of a band links to one of their songs #which means a shit ton of Sixx AM #but no motley crue just for some reason i dont jive with them #anyways u gotta listen to em all lmfao #even tho this turned out to just be me rambling about voice claims and music style #and how i tie it all to def march #ehhhh #good shit tho thank u

[theindyreview]

Interview: William Ryan Key

Interview: @WilliamRyanKey The former Yellowcard frontman discusses his new EP, the evolution of his sound, touring plans & more! @reybee @equalvision #interview #WilliamRyanKey #indie #electronica #experimental #newmusic #EverythingExceptDesire

For years, William Ryan Key fronted Yellowcard, one of the most successful pop-punk groups of the early 00’s. I remember first discovering them from free mp3 sites, with “Rock Star Land” becoming an early favorite. I later caught the group playing live in Hollywood, opening for Less Than Jake and Sugarcult, with their break-out album Ocean Avenue not far behind. Everything Except Desire cover…

View On WordPress

#electronic #experimental #indie #interview #pop #pop rock #post punk #rock #William Ryan Key #yellowcard

[archivedatl]

AP web exclusive: All Time Low tour diary

Posted by Scott Heisel on 08-Dec-06 @ 04:43 PM

Last month, Baltimore pop-punkers All Time Low took to the road with Sugarcult for a series of shows on the West Coast. Here's some of what they saw, in words and pictures. Learn more at www.alltimelow.com.

#1------------------------------------------------------------ Ooohooo So last night we celebrated two awesome occasions...well 3 since matt's molars finally grew in...anyways yesterday was Haloween and our first night of our tour with Sugarcult. I must say, it is pretty strange touring with a band who I spent the better years of my middle school life watching on MTV. Regardless of where this band has been, it definetly didn't eff with their personalities. They were all super nice to us and each came up and introduced themselves. The show went pretty well but it wasn't a good judgement of our the whole tour is going to be because Sugarcult didn't even headline, the Eagles Of Death Metal did, and the tickets for $25 on Haloween night :) I'm sorry but I would never go to a show if those were the circumstances...I'd be out expanding my collection of holiday treats. Tonight the 'real' tour begins so we will see how it goes. We are playing Washington State University in Pullman Washington. We haven't done too many college shows, so this should be interesting...anyways before we got on the road a couple days ago we were couped up in Ben Harper's (formely of yellowcard, now in amber pacific) house/studio in long beach, CA working on our new CD :). We demoed some hot licks that were going to send over to our producer matt squire so that he can put in some input. I heard my blogs are going to be posted on the Alternative Press website for this tour, so if that's the case then...helll yeah! Well I just woke up from sleeping in the van so I am gonna walk out into the freezing streets of Pullman, WA crack my back and grab some Qudoba. Much Love, Jack --jbstar #2------------------------------------------------------------ Yoo dooodds, So I'm gonna update you guys on the passed couple shows...on Wednsday we played Washington State University. Those kids are freaking crazy! Everyone seemed to be having a good time and we made some awesome new friends. I cannot stress enough, how cool the Sugarcult guys are. Which is really cool because I have been listening to those guys since 6th grade! Anyways before we played, matt thought it would be a good idea to have a fork and knife fight backstage...yeah it turned pretty ugly and we should have some footage online soon enough. That night we partied at 'The Christmas House'. Lets just say that I'm pretty sure alex made out with a dog...I really miss Hit The Lights :( Anways...we played Seattle after the college show and it was offf the hoooook. Everyone in the room was dancing and it got pretty redic. As soon as we told them the alex/dog story they went nuts. We met up with the Pink Spiders that night. We were nervous about that because we've heard some stuff...but for real those guys are the shit. There all super nice and we have no complaints about them. We have yet to tour with a band who we don't get along with (fingers crossed). We also heard that we may be doing a few shows with Cobra Starship in Dec, if that happends that would be sick. I'll keep you guys updated. Someone made us a bucket of the craziest donuts ive ever seen at the portland show last night!! They were reallly good. Sorry for the lack of pics, I'll make sure my next post has more, its just hard to take good pics on a sidekick :). Talk to you guys soon!!Jacko #3------------------------------------------------------------ Yo Babaayyss, Last nights show was off the hook! I love playing at The Boardwalk in orangevale calii. The crowd was as wild as usual and a bunch of kids were singing along. A lot of the same kids who saw us there on the Amber Pacific tour came back. Its always cool to see so many familiar faces,,,cough cough hint hint nudge...you get the idea folks! The next couple shows should be interesting...reno and vegas. I wont be able to gamble but at least ill be able to look at a lot of lights. We all have family comming out, so that should be exciting. I havent seen my brother and sister in ages and i know their gonna be wasted so that means they will be even more friendly :) Also Meg n Dia join up in vegas which is sick, SO SIKED FOR THAT!!! We met them on warped and their super nice. anyways i think its time, i go to In and Out because after this tour im not going to be able to go back for a while :( im going to eat there everyday twice a day until we leave Arizona. Ive attached pics from our set on the Epitaph stage at this years Bamboozle Left and also some pics of our acoustic set the 2nd day! Thanks to everyone who watched us either/both days :) love you peace peace n a bottle o' hair grease, jack #4------------------------------------------------------------ Wow...vegas has to be one of the strangest places on this earth. First of all we showed up in Reno (shity city) only to find that only sugarcults crew was there and the show probably wasnt going on. We were welcomed by a hooker in a pink tanktop and no teeth asking if we had any shirts we could give her...Thankfully we have power windows and middle fingers. Thankfully zack was asleep or he might have took her up on some of her offers...he's getting desperate you know..just kidding! Anyways we decided to hang out with sugarcults crew for a little then start the drive to vegas early since it was 8 house. We got to go over the Hoover Damn which was sweet. It's seriously Vegas Vacation all over again! Anyways, we got to vegas around midnight and it was a fantastic site! My bro and sis were staying at the MGM so thats where i headed. Rian to the Excalibur, Alex and Matt to the Venecian and Zack to the Luxor. We all split up and hung out with our fam for the evening. My brother took me around vegas and boyyy was it interesting. I was approached by numerous drunk people. It was basically like an Ocean City, Maryland for older people. It's just a place for adults to drink, walk around drunk, act like teenagers and maybe gamble a bit here n' there. it was Akward to say the least. Anyways the next day was the show at the House Of Blues at Mandalay Bay...probably one of the nicest venues we have ever played. We introduced ourselves to the Meg n Dia folks and got to know our new tour mates as we shared a dressing room. We soon found they are awesome people and they share a love for getting wild! The show was pretty cool, and the crowd was big. It was weird though because the merch was not in the venue, it was in the cassino haha. Anyways Vegas was an experience we wont forget, and I cant wait till we go there again. I hope the next time we go, were 21...actually nevermind because that would be three years :)stay rad, Jack #5------------------------------------------------------------ Lame! Tonight was our last show on the Sugarcult Tour featuring The Pink Spiders and Meg n Dia :( Damone will be taking our place on this great lineup. I am jelous that they get to join up! Anyways we made some lifetime friends on this tour and it was a great experience for everyone. Every single show was amazing and the fans never let us down. Traveling to bumfuck arizona and hearing a couple hundred kids sing your song is the coolest feeling ever. Sugarcult was very warming towards us and their personalities suprised the shit out of me. they were such cool guys and even when zack was sick they made him soup and gave him Emergen-C. WHO DOES THAT !?!? Thats like something my mom does...so in a way Sugarcult are our parents. They actually reffered to us as their younger brothers on stage. At the last show of the tour in Little Rock, Arkansas us and Meg n Dia ran on stage during "Bouncing Off the Walls" and started bouncing around and took over Tim's Guitar n Mic, Marko's (my twin) guitar and Airens Bass. It was so fun to bro down with a band that ive been listening to since middle school haha. Alex also got to soundcheck with sugarcult at Texas AM College because tim was at the hospital taking care of his sickness (i think he had a nasty cold). It was so crazy to see alex soundcheck with a band who for the past few years have held a special spot on my ipod and in my cd player :) I attached a pic of him sound-checking for fun. At the end of the show we said our goodbyes and gave our hugs. This is'nt the end of these friendships though, only the beggining...now we head home to write a new cd. Catch us on the road in the northeast in december when we head out with Cobra Starship! Stay safe, Jack

#2006 #blog #Jack Barakat #text #alternative press #all time low #sugarcult tour

[warped-historian]

Warped Tour, 2001

Dates:

June 22: Peoria, AZ

June 23: Las Vegas, NV

June 24: Fresno, CA

June 27: Chula Vista, CA

June 28: Ventura, CA

June 29: L.A., CA

June 30: San Francisco, CA

July 1: Lake Tahoe, NV

July 2: Boise, ID

July 3, George, Washington

July 5: Calgary, AB

July 6: Bozeman, MT

July 7: Salt Lake City, UT

July 8: Brighton, CO

July 10: Bonner Springs, KS

July 11: Maryland Heights, MO

July 12: Noblesville, IN

July 13: Milwaukee, WI

July 14: Somerset, WI

July 15: Tinley Park, IL

July 17: Sparta, KY

July 18: Antioch, TN

July 19: Little Rock, AR

July 20: Dallas, TX

July 21: Selma, TX

July 22: The Woodlands, TX

July 23: Corpus Christi, TX

July 24: New Orleans, LA

July 25: Atlanta, GA

July 26: Charlotte, NC

July 27: Orlando, FL

July 28: Pompano Beach, FL

July 29: Tampa, FL

July 31: Tampa, FL

August 1: Virginia Beach, VA

August 2: Pittsburgh, PA

August 3: Camden, NJ

August 4: New York, NY

August 5: Asbury Park, NJ

August 7: Cleveland, OH

August 8: Buffalo, NY

August 9: Boston, MA

August 10: Montreal, QC

August 11: Toronto, ON

August 12: Detroit, MI

Lineup:

AFI

Blink-182 (Played 7/14)

The Bouncing Souls

The Distillers (Played 6/22-7/22)

Dropkick Murphys (Played 8/1-8/12)

Fear (Played 6/22-6/30)

Fenix TX

Inspection 12 (Played 7/27)

Less Than Jake

The Living End (Played 7/10-7/12 and 7/14-7/15)

Me First and the Gimme Gimmes

Obtik (Played 7/23)

Pennywise (Played 6/22-7/8 and 7/27-8/12)

Rancid

Rollins Band (Played 8/1-8/9)

311 (Played 6/22-7/29)

The Ataris

D12 (Played 7/31-8/3)

Dub Pistols (Played 7/10-7/24)

Flogging Molly (Played 7/31-8/12)

Guttermouth (Played 6/29 and 7/6-7/15)

H2O

Jimmy Eat World (Played 7/25-8/5)

Kool Keith

The Misfits (Played 7/10-7/17)

Morgan Heritage (Played 7/25-8/12)

New Found Glory (Played 6/22-7/2 and 7/14)

Sum 41 (Played 7/27)

The Vandals

3rd Strike (Played 7/15-7/26)

7th House (Played 8/2-8/5)

Alien Ant Farm (Played 6/22-7/25 and 7/31-8/9)

Amen (Played 8/3-8/9)

The Apex Theory (Played 6/22-7/8)

Bigwig (Played 7/31-8/12)

Black Halos (Played 7/5-7/8)

Bodyjar (Played 6/22-7/15)

The Business (Played 7/14-7/22)

The Casualties (Played 7/13-7/23)

Catch 22 (Played 8/7-8/12)

DeRoot (Played 7/27)

El Centro (Played 7/20-7/23)

Esham (Played 6/22-8/3)

The Explosion (Played 7/17-7/29)

Good Charlotte (Played 6/22-8/5)

Grand Theft Audio (Played 8/9-8/12)

Hank 3 & Assjack (Played 6/22-7/15)

Hesher (Played 7/10-7/23)

Home Town Hero (Played 6/22-6/29)

Jaya the Cat (Played 8/2-8/5 and 8/9)

Jersey (Played 7/31-8/5)

The Juliana Theory (Played 6/22-7/3)

Liars Inc. (Played 6/28-7/12)

Little T and One Track Mike (Played 8/9-8/12)

Lost City Angels (Played 7/11-7/12 and 7/14-7/15)

Midtown (Played 7/17-7/29)

No Motiv (Played 7/31-8/12)

Pressure 4-5 (Played 7/7-7/8)

Rehab (Played 7/31-8/5)

River City High (Played 7/25-7/29)

River City Rebels (Played 7/12-7/14)

Rogue's March (Played 8/3-8/4 and 8/8-8/9)

Showoff (Played 7/25-7/31)

Slightly Stoopid (Played 6/30-7/8)

The Spitvalves (Played 7/27)

Sugarcult (Played 6/22-7/5)

Sum 41 (Played 7/10-7/26 and 7/28-8/12)

Thrice (Played 6/22-6/27)

The Youth Ahead (Played 8/5)

Zooloft (Played 8/4)

2 Cents Worth (Played 6/23)

Agent 51 (Played 6/27-6/29)

Anchor Man (Played 7/27)

Bargain Music (Played 6/22-6/27)

Belvedere (Played 7/5 and 7/31-8/5)

The Benjamins (Played 7/11-7/15)

Bumrukus (Played 7/26-7/29)

Defiance of Authority (Played 8/5-8/8)

DeRoot (Played 7/10-7/15, 7/20-7/23)

Destruction Made Simple (Played 7/29-8/1)

Deviates (Played 6/27-7/10)

Dover (Played 8/4)

Downway (Played 7/5-7/7)

The Eyeliners (Played 7/20-7/23)

Fatman's Belly (Played 7/5)

Grade (Played 8/8-8/12)

Hollywood Beach Brian (Played 7/27)

Idol Hands (Played 6/28)

The Impossibles (Played 7/31-8/5)

Jackpot (Played 6/30-7/3)

Japetto (Played 7/31-8/5)

The Know How (Played 7/28-7/29)

The Lawrence Arms (Played 7/5-7/10)

Lefty (Played 7/27 and 8/7-8/12)

The Line

Lovetone (Played 8/2-8/4)

Luckie Strike (Played 6/29-7/1)

Madcap

Mest (Played 7/15-7/19)

Obtik (Played 7/20-7/22)

Pepper

Pinhead Circus (Played 7/11-7/13)

Project Wyze (Played 8/9-8/12)

The Planet Smashers (Played 8/7-8/12)

Potluck (Played 6/30-7/1)

The Rocking Horse Winner (Played 7/26-7/29)

Shutdown (Played 8/8-8/10)

Sloppy Meateaters (Played 7/3 and 7/20-7/25)

Stunt Monkey (Played 6/30-7/1)

Switch (Played 7/8-7/19)

Sw1tched (Played 7/27)

Thursday (Played 8/1-8/4)

Tree (Played 8/7-8/9)

Tsunami Bomb (Played 6/22-6/28)

Userfriendly (Played 6/22-7/3)

Wanted Dead (Played 6/22-6/24)

Welton (Played 7/19)

151 (Played 6/29)

2540 (Played 7/26)

28 Gates (Played 7/29)

3NT (Played 7/20)

3rd Man In (Played 6/23)

40 Watt Hype (Played 6/24)

5 Spot (Played 7/5)

$50 Flander (Played 7/27)

The 7 Method (Played 7/25)

7minds (Played 8/5)

7th Rail Crew (Played 8/9)

AAK (Played 8/7)

Absolve (Played 8/9)

Addictive (Played 7/19)

Afrodesia (Played 7/19)

Aging Process (Played 6/23)

Agonistic Resemblance (Played 6/30)

All Access (Played 7/18)

Asbestos (Played 7/17-7/20)

Atomic Number 9 (Played 7/13)

B9 (Played 6/29)

Backhand (Played 7/24)

Benevolent Souls (Played 7/8)

Bi-Level (Played 7/11)

Big Dictator (Played 6/28)

Bill the Welder (Played 7/8)

Bird3

Blacklist Sunshine (Played 7/10)

Blend Engine (Played 8/4)

Blindshot (Played 8/12)

Blister 66 (Played 7/8)

Breakaway (Played 8/4)

Bruise Bros. (Played 8/9)

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#festival #concert #tour #music #warped tour #vans warped tour #afi #blink 182 #the bouncing souls #the distillers #dropkick murphys #fear #fenix tx #inspection 12 #less than jake #the living end #me first and the gimme gimmes #obtik #pennywise #rancid #rollins band #311 #the ataris #d12 #dub pistols #flogging molly #guttermouth #h2o #jimmy eat world #kool keith

[blurry-fics]

Bandom Bingo Masterlist

Fairy Lights - Obvious by Hey Monday - Josh x Reader

Concert Confession - Never Stop by SafetySuit - Tyler x Reader

Don’t Blame Me - Catalyst by Anna Nalick - Josh x  Reader

Rough Day - Somewhere in Neverland by All Time Low - Tyler x Reader

People, Not Places - Home by K’s Choice - Josh x Reader

Yours - Damn Regret by The Red Jumpsuit Apparatus - Tyler x Reader

Gossip Magazine - Love Like Woe by The Ready Set - Josh x Reader

Turn Back the Clock - Photo by Ryan Cabrera - Tyler x Reader

Letters You Never Meant to Send - Name by the Goo Goo Dolls - Josh x Reader

Space - Things to Say by SafetySuit - Tyler x Reader

Fade With Time - If There’s a Rocket Tie Me to It by Snow Patrol - Josh x Reader

A Scary Thing - The Love We Stole by Bear’s Den - Tyler x Reader

Elevator - Staplegunned by The Spill Canvas - Josh x Reader

Genuine Connection - Umbrellas by Nikki Kummerow - Tyler x Reader

It’s A Date - Bad at Love by Halsey - Josh x Reader

Almost Midnight - Acoustic #3 by The Goo Goo Dolls - Tyler x Reader

Nobody for Miles - Speakers by Sam Hunt - Josh x Reader

Reputation - Carolina by Matt Wertz - Tyler x Reader

The Night Before Tour - Hurricane by Dustin Lynch - Josh x Reader

More Than Friends - Memory by Sugarcult - Tyler x Reader

That Night - Good To You by Marianas Trench - Josh x Reader

Love You Too - Sorries by Andee - Tyler x Reader

Thirty Four Days - Long Distance Love by Roomie - Josh x Reader

Interview Questions - Not Over You by Gavin DeGraw - Tyler x Reader

Wonderstruck - Enchanted by Taylor Swift - Reader’s Choice x Reader

#bandombingo-r1 #tyler joseph #josh dun #tyler joseph x reader #josh dun x reader #tyler joseph imagine #tyler joseph drabble #tyler joseph fluff #tyler joseph angst #tyler joseph fanfiction #josh dun imagine #josh dun drabble #josh dun fluff #josh dun angst #josh dun fanfiction #twenty one pilots #twenty one pilots x reader #twenty one pilots imagine #twenty one pilots drabble #twenty one pilots fluff #twenty one pilots angst #twenty one pilots fanfiction #skeleton clique #blurry-fics

[bringinbackpod]

Interview with Sugarcult

We had the pleasure of interviewing Marko DeSantis of Sugarcult over Zoom video!  In August 2001, SoCal rockers Sugarcult burst onto the scene with their anthemic debut album Start Static. Combining high-energy punk riffs and irresistible power-pop melodies with a heavy dose of youthful angst, Start Static quickly earned the group a legion of fans, and spawned three hit singles, "Bouncing Off the Walls," "Pretty Girl (The Way)," and "Stuck in America." Now, two decades later, Craft Recordings commemorates this enduring favorite with a deluxe 20th anniversary vinyl and digital reissue.   Set for an October 8 street date and available for pre-order, the vinyl edition of Start Static (20th-Anniversary Edition) will feature the original album — newly remastered by the GRAMMY®-winning engineer, Paul Blakemore — plus three special bonus tracks: an early demo of "Say I'm Sorry," a live version of "Bouncing Off the Walls," plus a spirited cover of Elvis Costello & The Attraction's "No Action." The album comes housed in a gatefold jacket, featuring sculpted emboss printing and updated liner notes from the band. Fans can also find a special variant of the LP — pressed on clear vinyl and limited to 500 units — exclusively on Sugarcult's website and at Craft Recordings' online store.    The digital edition, also available October 8, features an additional, previously unreleased live version of the band's hit single, "Stuck in America." and "Bouncing Off the Walls (Live)"   Formed in Santa Barbara, CA, in 1998, Sugarcult — whose original lineup consisted of Tim Pagnotta (vocals/guitar), Airin Older (bass/vocals), Marko DeSantis (guitar), and Ben Davis (drums)— made their mark as one of the most dynamic and entertaining pop-punk bands to come out of the 2000s. After independently releasing two demos and two EPs, the quartet caught the ears of Ultimatum Music, who signed Sugarcult and connected them with producer Matt Wallace (Maroon 5, Faith No More, The Replacements) to work on their debut full-length.    Start Static went on to sell more than 300,000 copies, while the band embarked on nearly three years of non-stop touring. In addition to playing the main stage of Warped Tour and appearing at festivals like Glastonbury (UK), Summer Sonic (Japan), and Soundwaves (Australia), the group joined Green Day's American Idiot tour in the U.S. and Japan, as well as Blink 182's European arena tour. They would go on to headline hundreds of shows across North America, Europe, and Japan. Multiple songs off Start Static, meanwhile, could be heard on popular shows like MTV's Laguna Beach and in films like Van Wilder (the stars of which, Ryan Reynolds and Tara Reid, appeared in the music video for "Bouncing Off the Walls.)"   In the liner notes, guitarist DeSantis recalls that Start Static  "was our confrontation and/or handshake with the world; our chance to get people to pay attention, earn their respect, and then, hopefully, win their hearts. The album title fit the narrative of the songs—which are mostly vignettes of young adult anxiety over the trials of messy romance and post-adolescent dissatisfaction and uncertainty. [Start Static] was our album title and our mission statement."   Following Start Static, Sugarcult went on to release two more acclaimed albums (2004's Palm Trees and Power Lines and 2006's Lights Out), and two DVDs before embarking on an extended hiatus in 2008. Since then, each band member has excelled in a variety of fields within the music industry.    Tim Pagnotta is an award-winning, multi-platinum-selling songwriter and producer who has collaborated with the likes of Weezer, Blink 182, Neon Trees, Walk the Moon, and Elle King. Airin Older went on to become a founding member of Edward Sharpe and the Magnetic Zeros and joined British alt-rock group thenewno2, featuring Dhani Harrison. Marko DeSantis is now a professor of music business, artist development and artist coaching at Los Angeles College of Music, Musicians Institute College of Music and Citrus College. He has also enjoyed several DJ residencies in the U.S. and Japan and has been featured as a guest speaker and panelist at SXSW, UCLA, and Sonos LEAD, among others. Ben Davis, meanwhile, enjoys a successful career writing and producing music for film, TV and commercials.  We want to hear from you! Please email [email protected]. www.BringinitBackwards.com #podcast #interview #bringinbackpod #MarkoDeSantis #zoom #Sugarcult #StuckInAmerica #BouncingOffTheWalls #StartStatic #20Years #20thAnniversary #20YearAnniversary #TwentyYearAnniversary Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter!  source https://www.spreaker.com/user/14706194/interview-with-sugarcult

#podcast #interview #bringinbackpod #music #aspn #americansongwriter #americansongwriterpodcastnetwor

[iowagirlwrites]

Someone please explain to me

Why I suddenly want to drop everything and find a date on Warped Tour or a week of Warped Tour and pretend I’m 20 for a while.

I can still vividly remember Warped Tour at 20. My roommate and I running around. She wanted Simple Plan’s autograph so we waited in line and I watched Avenged Sevenfold take the stage. My mind was blown. I saw from First to Last and Letter Kills with some of my best friends from high school. Tracked down my college friends to catch Coheed and Cambria. Nearly died watching New Found Glory and loved every second of Story of the Year. It was one of the longest but greatest days of my life. Bands like Taking Back Sunday, Sugarcult, Thursday, and Yellowcard were on regular rotation and defined my life.

It was a time where Avenged Sevenfold played a side stage. Where hardcore bands wore shirts and ties and called themselves fashioncore. And Davey Havok wore his makeup better than any girl in attendance.

Then, I was this typical little punk girl in my jeans, chucks and black band T-shirt but listened to hardcore because the screaming made me feel sane. I saw bands like Fall Out Boy or My Chemical Romance play in the tiny hole in the wall bars I hung out at every night. Life was different. Concert tickets were “expensive” at $30. I paid to see Dashboard Confessional three times and only saw two songs. I lived for the opening of “Artist in the Ambulance” by Thrice. Brand New made the music that sparked conversation amongst friends. Motion City Soundtrack was doing handstands on keyboards and I fangirled over guys like Keith from Eighteen Visions/Throwdown and John Nolan from Straylight Run/Taking Back Sunday was like god. A time where the key to my heart was eyeliner, tattoos and probably being a Madden brother.

I miss those days. I miss that music. I miss that period of my life. I was young, carefree and having the time of my life with the people who meant the most to me. I wouldn’t trade where I’m at now to go back there but it doesn’t mean I don’t get nostalgic for it.

Maybe I’ll fall asleep to a little bit of my past. Atreyu and 18 Visions anyone?

#i used to be a punk rock princess #i should’ve bought stock in black eyeliner #also black tshirts #and black hair dye #i miss those days

[idkhowbr]

Alternative Press: O iDKHOW não é o menor denominador comum de ninguém com o "Razzmatazz"

Entrevista original: Jason Pettigrew para AP Digital Cover Story Tradução: equipe iDKHOW Brazil

I Dont Know How But They Found Me, o duo de Dallon Weekes e Ryan Seaman, está trazendo uma vibe retrô-futurista em seu álbum de estreia, “Razzmatazz”. Fique avisado: egos e “bateristas de turnê” não estão incluídos…

Na vida real, é verdade que o tempo voa quando você está se divertindo. Mas às vezes, em sua cabeça, ele anda dolorosamente devagar, como em procedimentos médicos, mudanças nas políticas governamentais e a vida em uma pandemia. Desde que Dallon Weekes e Ryan Seaman do I Dont Know How But They Found Me estiveram na capa da Alternative Press em janeiro de 2019 (edição 366), estivemos esperando… aguardando… clamando pelo álbum de estreia.

Esqueça os fãs e os críticos nervosos do rock: o próprio Dallon Weekes estava ansioso e impaciente para tirar toda a música de sua cabeça e levá-la ao mundo o mais rápido possível. E essa impaciência não era sem um bom motivo. Este seria o primeiro grande trabalho do cantor e multi-instrumentista desde que deixou o “Panic! At The Disco” em 2017.

A precisão da visão retrospectiva permitiu a Weekes e Seaman a capacidade de olharem para trás e se perguntarem por que estavam com tanta pressa. De fato, “Razzmatazz”, o álbum de estreia do iDKHOW lançado pela Fearless Records, entrega todos os ritmos, paixão e diversão que sua produção anterior nos provocou. A sinergia do poder confiável de Seaman (e senso do que é apropriado) e a sensibilidade pop incomum de Weekes é completamente incomparável. As fascinações musicais de Weekes vão do glamour clássico dos anos 70 (David Bowie, T. Rex, Sparks) aos rebeldes do rock alternativo dos anos 90 (Weezer, Ben Folds) e até grupos dos anos 30 (ele poderia conversar com seus avós sobre o “Ink Spots”).

A única grande chatice sobre o “Razzmatazz” não tem nada a ver com suas canções cintilantes, músicas de pista de dança e o Top 5 sucessos de 2033. A única decepção aqui é a pandemia que impede o iDKHOW de levar a sua vibe legal para o público. Música boa sempre inspirou as pessoas a dar dimensão às suas vidas. Weekes e Seaman estão demonstrando esse mesmo gesto da melhor maneira que podem. A dupla contou à Alternative Press sobre suas aventuras, sejam elas em andamento ou completamente paralisadas. O entusiasmo deles ainda é enorme. Apenas três anos depois, o iDKHOW está realmente apenas começando. O futuro-retrô começa em 3… 2… 1…

O “Razzmatazz” demorou muito tempo? Estou apenas tentando pensar na ideia, a antecipação de fazer um disco contra o verdadeiro trabalho na vida real. É uma coisa pessoal. Você é o único que está entusiasmado, e você é o único que está sentindo: "Por que está demorando tanto?" quando na verdade não está demorando tanto assim. Você está muito animado porque é seu primeiro grande trabalho artístico. Dallon Weekes: Provavelmente é uma mistura das duas coisas, porque as músicas desse álbum — pelo menos grande parte delas — já estão escritas há muito tempo. Mas entrar no estúdio e realmente produzi-lo foi colocado em espera em favor de uma turnê e de construir a banda um pouco mais. Então, eu estar animado para tirar isso da minha cabeça e colocá-lo de lado certamente foi um aspecto disso. Mas ter que esperar por todo esse tempo que esperamos? Eu acho que isso só serviu para exacerbar esse problema pra mim mesmo, sentar e viver com todas essas canções por tanto tempo. Foi difícil, mas gravá-lo levou apenas algumas semanas. Acho que três semanas e meia. Mas acho que esse tempo de espera me permitiu entrar e ajustar as ideias um pouco mais, e ir para o estúdio um pouco mais preparado para que as coisas acontecessem realmente muito rapidamente quando começássemos.

Houve algum retrabalho ou ajuste fino? “Eu não gosto dessa letra. Eu não gosto dessa melodia.” Você teve um momento para refletir sobre o que gravou? Dallon Weekes: Talvez não tanto retrabalho quanto olhar para as coisas através de um microscópio com a ajuda de um produtor. Tim Pagnotta (do “Sugarcult”) fez álbuns incríveis para o “Walk The Moon” e “Neon Trees”. Ele vem de um mundo pop realmente muito bom. Então ter essa base pop, eu acho que realmente ajuda a servir algumas das minhas ideias mais estranhas. Nesse sentido, conseguimos apertar os parafusos um pouco mais em algumas ideias e aparar um pouco da gordura, por assim dizer. Também pudemos escrever mais algumas músicas enquanto estávamos no estúdio. “Razzmatazz”, a faixa-título, acabou sendo, eu acho, a última música que fizemos. Escrevemos essa mais ou menos na última semana de gravação.

Qual a necessidade de um produtor na forma como você trabalha? Você obviamente tem uma ideia de como as coisas devem ficar dentro de sua cabeça. O que um produtor adiciona ao universo do iDKHOW? Dallon Weekes: Eu sinto que é mais uma questão de ele adicionar uma perspectiva diferente a algumas dessas ideias. Tenho a tendência de apenas sentar e ir música por música e não sinto essa ideia do escopo do álbum como um grande quadro até que estejamos realmente fazendo ele. É quando eu começo a fazer as conexões para deixar tudo amarrado. Por exemplo, uma das músicas do álbum, “From The Gallows”, a demo era uma balada de jazz dos anos 1930 com um som de quarteto de barbearia. Se tivéssemos deixado como estava, acho que ficaria realmente deslocada. Foi importante ter um produtor pra dizer, “Vamos apenas desmontar essa e colocá-la de volta dentro dos arranjos sonoros que estamos fazendo.” Acho que isso permitiu que ela não ficasse estranha, e se encaixou muito bem no resto do álbum. Enquanto estávamos fazendo isso, o pensamento que me veio à cabeça foi que parecia Lawrence Welk tomando ácido.

Faz sentido. Pelo andar das coisas, as rádios americanas parecem realmente gostar do iDKHOW. O que você acha? iDKHOW é como um DeLorean cromado em um mundo de Toyota Corollas na maioria das playlists. Dallon Weekes: Parece uma daquelas anomalias estranhas que acontecem no rádio de vez em quando. Porque ainda há muitos artistas e suas gravadoras tentando fabricar um sucesso e tentando perseguir as tendências e o menor denominador comum. Mas de vez em quando, acho que alguém se esgueira com algo que é sincero e que vem de algum lugar real, o que é importante para os artistas se lembrarem.

O iDKHOW está sendo descoberto pelas plataformas mainstream que não fazem ideia de onde você vem. Eu imagino que muitas dessas pessoas provavelmente nem soubessem que você estava no “Panic! At The Disco” até que alguém da gravadora mencionasse isso em um comunicado à imprensa. Esse tipo de coisa é libertador para você? Dallon Weekes: Sempre que as pessoas nos descobrem ou apoiam o que estamos fazendo sem saber de onde viemos, é sempre muito revigorante. Eu também agradeço muito. Não estou tirando de onde você pode nos descobrir. Pode entrar: você está convidado para a festa, com certeza. Eu acho que contanto que você fique pelas razões certas é o que importa. A realidade de ter tocado para aquela banda por tanto tempo como eu fiz não é algo que está perdido em mim. Mas definitivamente, também não é algo que desejamos explorar. Ter esses mundos tão separados quanto possível é algo que considero importante. Portanto, é bom que isso aconteça.

Vocês dois vêm de uma área que talvez muitas pessoas nas rádios ou não estão cientes ou podem ter uma noção preconcebida sobre. Eles provavelmente poderiam me dizer todos os membros do “Pop Evil”, mas não poderiam me dizer um único membro do “Falling In Reverse”. Eles podem ter um certo conhecimento sobre o “Panic!”, mas nada que esteja alinhado com a cena da “Warped Tour”. É ótimo que este mundo esteja olhando para o iDKHOW apenas por seus méritos e não por uma noção preconcebida sobre seu passado musical. São critérios diferentes. Ryan Seaman: E em toda minha vida, só levei 18 anos para conseguir isso. (Risos) O meu caminho foi direto: assim que terminei o ensino médio, saí com o “The Eyeliners”, uma banda punk-rock só de garotas. Entrei em um ônibus de tour pela primeira vez, e realmente não parei desde então. Eu me mudei para Los Angeles e entrei em uma banda atrás da outra, sendo contratado em algumas situações. E então eu conheci o Dallon, e entrar no “The Brobecks” foi como uma benção. Parece um filme estranho pelo qual passei. Eu queria estar em todo lugar, musicalmente. Gosto de música hardcore, punk-rock e indie rock. E eu cresci tocando jazz na escola. Quando eu estive em Park City, Utah, foi realmente muito encorajador tocar para tantas pessoas. Porque é assim que eu me sinto, se você fosse um músico, é assim que você cresceria.

Dallon: você aprendeu algo sobre si mesmo ao fazer essa transição de auxiliar para estar na frente e no centro? Psicologicamente, musicalmente, profissionalmente? Houve coisas que você aprendeu sobre si mesmo que talvez você não soubesse? Dallon Weekes: Era mais uma questão de lembrar. Lembrar de como se divertir no palco novamente. E lembrar que a música em seu coração deve ser algo divertido, e é por isso que você começa a fazer em primeiro lugar. Quando você pega uma guitarra pela primeira vez, algo acende dentro de você que nunca mais vai embora. Mas acho que foi um grande lembrete do motivo pelo qual entrei nisso em primeiro lugar. Não apenas para ficar no palco e receber um cheque de pagamento. Mas porque há algo dentro de você que precisa sair. Ao entrar novamente nesse papel de frontman, levei um tempo para me encontrar e encontrar minha própria voz como escritor, em vez de escrever para outras pessoas.

Do que vocês têm medo agora? Dallon Weekes: Tenho medo de nunca mais ser capaz de fazer um show novamente. É algo em que penso muito. Sinto muito a falta disso. Finalmente lançar esse álbum, mas não poder tocá-lo para as pessoas, é um ponto de frustração. Espero que um dia possamos tocar esse álbum ao vivo, porque nós esperamos por tanto tempo. Mas se esperar é o nome do jogo, então nós já somos profissionais. Então estamos tentando não pensar muito nisso. Ryan Seaman: É uma grande chatice. Acho que este é o maior período de tempo em que estou em casa desde 2005. De verdade. O máximo que estive em casa foi uns sete meses seguidos ou algo assim.

Ryan, você sempre foi um cara que está constantemente em turnê. Em qualquer outro momento, você teria um mínimo de oito semanas de datas na estrada. Ter um novo álbum lançado para o mundo e não poder tocá-lo ao vivo deve ser estranho. Ryan Seaman: É uma loucura total. Mas também é incrível porque agora estamos nas paradas das rádios alternativas. Nós estamos na posição #8 agora, o que é simplesmente insano. Eu me pergunto o que aconteceria se estivéssemos em turnê.

Vocês viram a apresentação do “The Flaming Lips” com aquelas bolas de hamster/bolhas? Dallon Weekes: Foi tão legal. Eu amo tanto o “The Flaming Lips”.

Eles usaram para que as pessoas pudessem trazer seus amigos e sair no meio da multidão nessas bolhas. Dallon Weekes: Essa seria uma experiência legal. A única coisa que fiquei curioso foi quanto tempo durou essa apresentação, porque não há muito ar nessas coisas.

Wayne Coyne disse que você realmente pode ficar nelas por um tempo. Dallon Weekes: Eu estava me perguntando se fazer algo assim poderia ser expandido ao longo de uma hora ou mais, se você estivesse bombeando ar para essas coisas de alguma forma segura. Definitivamente seria uma experiência muito legal poder assistir a algo assim. Os vídeos que eu vi realmente parece algo muito especial. Ryan Seaman: Agora, todo mundo está no mesmo barco. Então, para mim, é apenas sobre, "Como vamos manter os fãs envolvidos? Como fazer para que eles sigam uma longa história enquanto estamos todos presos?”. Como você sabe, nós começamos a banda em segredo. Quando eu era jovem e fui crescendo, sempre senti que queria fazer parte desta sociedade secreta, sabe? Eu queria ser diferente de todos na minha escola. As coisas que eu ouvia não eram legais na minha escola. Ninguém sabia sobre a “Epitaph Records” ou a “Fat Wreck Chords” (gravadoras independentes). O Green Day não era popular — apenas o rap e o que quer que estivesse na rádio ou na MTV. Então eu acho que há algo a ser dito quando você pode descobrir algo e tê-lo tão perto do seu coração, e você pode segui-lo. Isso é o que eu quero criar para as outras pessoas. Algo em que eles possam se agarrar e fazer parte. O iDKHOW tem reunido pessoas. Já teve gente nas redes sociais me falando: “Conheci meu novo melhor amigo por causa de vocês”. Eu quero que o iDKHOW leve isso para a sociedade, mesmo que seja online e por e-mail.

Vocês consideram fazer shows drive-in? Dallon Weekes: Nós já conversamos sobre isso. Tem-se falado sobre um show com distanciamento social em um estádio de futebol em Salt Lake City. Mas os planos para isso parecem mudar dia após dia. Quem sabe se isso realmente vai passar? Eu acho que é uma daquelas coisas em que esperamos o melhor, mas estamos preparados para o pior.

Por falar no pior, qual foi a pergunta (em entrevistas) que já te fez querer bater em alguém? Se foi pra tirar você do sério ou se realmente foi uma pergunta idiota. Aquela que realmente irritou você. Dallon Weekes: Estou quebrando a cabeça para responder essa pergunta. Se alguém já me fez alguma pergunta como essa durante as entrevistas com o iDKHOW. Eu não notei. Eu acho que qualquer pergunta, seja “De onde você tirou o nome da sua banda” ou perguntas sobre o “Panic! At The Disco”, eu não me importo, traga todas elas. Estou feliz em falar sobre tudo isso.

Em um artigo recente, um jornalista britânico descreveu Ryan como um "baterista de turnê". Tenho certeza de que muitos fãs leram isso e pensaram que a banda estava se transformando em um “The Dallon Weekes Show” (“O Show de Dallon Weekes”). É certo que você está escrevendo todo o material e as letras. Mas alguns fãs estão preocupados com isso. O que diabos fez o jornalista pensar isso? Dallon Weekes: Essa é uma ótima pergunta. Eu realmente não sei. Porque do meu ponto de vista, Ryan não é um membro de turnê dessa banda. Ele é o meu cara. Ele é meu baterista, e é meu amigo. E eu não quero fazer isso sem ele por milhares de razões. Ele é meu amigo há mais de uma década e sempre foi meu cara preferido quando se trata de bateria. Eu estava realmente andando com ele enquanto gravávamos essas músicas que eu escrevi. Isso me fez querer tocar essas coisas ao vivo. E eu queria tocar com ele porque viemos de situações semelhantes. Ele está na mesma página que eu quando se trata de colocar as músicas em primeiro lugar, ao invés de qualquer tipo de coisa que venha do ego. Ele quer fazer o trabalho, e quer servir a ele mais do que a si mesmo. Ele também é o cara mais querido do mundo. Quando começamos, tudo o que fizemos até agora foram músicas que escrevi. Porque eu tenho essa coleção de ideias e músicas há tanto tempo, eu precisava colocá-las para fora e colocá-las em prática. Mas acho que à medida que o futuro avança, vamos colaborar mais na escrita, porque ele também é um escritor talentoso. Mas "baterista de turnê"? Não é isso. Não podemos estar juntos o tempo todo para fazer sessões de fotos, entrevistas, lives e coisas assim. Com isso, criativamente falando, sendo minha criação, eu acho que é provavelmente de onde o apelido de "baterista de turnê" nasceu. Mas para mim, isso não parece ser um termo apropriado. Ele é o baterista do iDKHOW. Ele é metade da banda.

Certamente. Como você descreveria o iDKHOW para um atendente de um restaurante aberto às 4 da manhã? Dallon Weekes: Eu apenas diria “hipster sem sentido”. (Risos) Só manter simples.

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