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Post by Senses Fail on Aug 20, 2006 12:18:19 GMT -5
August 20th, 2006 Kill DaveyKill Davey came together in late 2004 when Chris Frias and Davey Guy met Jason Nelson at a Saosin show in South Orange County, California. Aaron Rovenger quickly joined the band and the four began rehearsals at Orbit Studios in Santa Ana. The quest for a vocalist became a huge undertaking, and the band became desperate to complete the lineup. After auditioning more than a few singers, Bobby Tacawy joined and the 5 began recording the first EP in February 2006. This 7-track recording was finished July 11th, 2006. The band has remained independent, playing shows in Southern California, selling CD's out of pockets, backpacks, etc. Kill Davey does not adhere to any scene or genre, for better or for worse. www.myspace.com/killdavey |
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Post by Senses Fail on Aug 21, 2006 12:15:48 GMT -5
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Post by Senses Fail on Aug 22, 2006 14:21:05 GMT -5
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Post by Senses Fail on Aug 23, 2006 14:07:38 GMT -5
August 23rd, 2006
Thursday
Times change, trends end and-especially in the realm of popular culture-fame usually doesn't last much longer than its five-minute expiration date. Luckily, Thursday aren't that kind of band. Even though the summer of screamo may be far from a footnote in the annals of music history, instead of making a last ditch effort to capitalize on the trend they helped bring to the mainstream, with A City By The Light Divided, the men of Thursday have once again transcended the genre, creating something vital and urgent!
But in order to truly understand the band's new material, it needs to be put into context. Formed in New Brunswick, New Jersey in 1997, Thursday started out as part of a basement culture that also birthed bands like Midtown and Taking Back Sunday. After releasing their debut album Waiting on then emerging Eyeball Records in 1999, the band members dropped out of Rutgers to pursue their musical careers full-time, touring non-stop for the next few years and slowly building up a fanatic fanbase. The band's big breakthrough came when the video for the song "Understanding In A Car Crash" (off 2001's Full Collapse), got picked up by MTV and after a headline stint on 2002's Warped Tour, the band found a new home at Island Records, who released the band's critically acclaimed third disc, War All The Time in 2003. However, despite numerous magazine covers and shows with The Cure that came in that album's wake, the band seemed to disappear for the second half of 2005, fueling rumors of an imminent break-up. Instead, the band had to tear itself apart and reevaluate everything in order to truly survive.
"One thing we realized on this record which was really liberating was that this is still our band," says vocalist Geoff Rickly. "It may have gotten bigger than us, but we still own it and we can decide what we want to do with it." However, for a while it looked like this record would never exist. Although the New Brunswick, New Jersey band's major-label debut, 2003's War All The Time, received numerous accolades and sold over 400,000 copies worldwide, the hectic touring schedule that followed it left the band physically, emotionally and creatively drained.
In fact, in many ways, A City By The Light Divided is the album that saved Thursday. "We took four months off last year to decide what we wanted to do and how much of a commitment we wanted to make, and we all decided we wanted to do this full-time," Rickly explains. "But in order to do that, we had to make a record that we think is SUPER SMURFing startling and amazing and beautiful and brilliant. If we don't make something that destroys everything else we've ever done, we just can't make another record."
A City By The Light Divided is undoubtedly that album. Produced by Dave Fridmann at Tarbox Studios in Fredonia, New York., "At This Velocity" may be equal parts singing and screaming, but it's anything but screamo. It's aggressive, sure, but with its lilting half-time breakdown and shimmering keyboards, it's also progressive-and accurately sets the tone for what follows it. In fact, if it weren't for Rickly's distinctive vocals, cynics would be hard-pressed to recognize the driving and impassioned "Telegraph Avenue Kiss" as a Thursday song (and not just because it features the most tasteful use of glockenspiel in recent memory).
However, it's that kind of gradual growth which has defined the band from their humble beginnings as a hardcore band to the innovative rock act they've become today. And while Fridmann may seem like an unlikely choice for a band who still incorporate breakdowns and sing-alongs into their music, Thursday's penchant for taking seemingly unorthodox chances is one of the reasons the band's popularity hasn't waned in the oast three years, while so many of the band's more predictable peers have vanished into obscurity.
"Yeah, a lot of people were surprised we recorded with Dave instead of a 'heavy' producer," Rickly admits. But listening to the disc, it's obvious the man who layered sonic textures with groundbreaking acts like the Flaming Lips and Sleater-Kinney was the perfect person to combine Thursday's eclectic influences-which range from instrumental acts like Explosions In The Sky to technical metal groups like the Dillinger Escape Plan to writers like Octavio Paz and Jonathan Lethem. The complete realization of all these seemingly disparate influences is what makes Rickly describe the band's latest disc as "the album we tried to make with War All The Time."
Let's face it, "next big things" are generally overrated. The term itself implies impermanence; no one uses that phrase to refer to, say, a band like U2. And while Thursday are still relatively in the infant stage of their existence, that's the kind of career trajectory they're aiming for- A City By The Light Divided is just the vehicle bringing them on step closer to realizing that dream.
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Post by Senses Fail on Aug 24, 2006 16:14:21 GMT -5
August 24, 2006
Story of the Year
Story of the Year was conceived in 1988, in Nashville, Tennessee, by a handful of guys in their early twenties who were willing to do just about anything to bring their brand of rockin county to the forefront of the music industry. Before hitting the big time, the band crisscrossed America for three long years, playing every bar and honky tonk from Myrtle Beach, SC, to Los Angeles, CA, all the while writing songs that were destined to change the sound of modern country, and perfecting a stage show that has been critically acclaimed worldwide as one of the best in the business.
Known at one time as the hardest working band in country music, it was not uncommon for the band to play over 300 shows a year, without a bus, without a driver, without tour support from a label. They simply made it on their own, and that seasoning shows up even today, almost 17 years later. There isnt a person in this band who has ever met a stranger, says drummer Josh Wills. We have never adopted the star mentality. Were just hard working guys who love what we do, and were blessed that people seem to enjoy it. Weve always been accessible to our fans, simply because theres no reason not to be. Its just not in us to be any other way. Were fans of a lot of different artists ourselves, so we know first hand what its like to be able to meet our heroes, and how special it makes us feel.
The band debuted on the charts in 1991 with the song Some Guys Have All My Love, which became their first top ten hit. It was soon followed up with another top ten, First Time For Everything. The only problem was, with two top ten singles, the band still didnt have a full album in the can. Our label wasnt really sure about us from the beginning, said bassist The Skull in a 1995 interview. Who could blame them? At that time there had never been a country act that young signed to a label. There was no individual artist of that age, and of course, no bands like Story of the Year that really looked and performed like a rock act. They took a big chance just putting singles and videos out there. We wound up jumping in the studio during a small break in our schedule and hammering out the first album in a matter of days. Dan and The Skull were literally writing lyrics in the TGI Fridays up the street from the studio in Memphis just to get the thing done.
History proves it worked. The album, Page Avenue, contained five singles, all making it into the upper echelon of the charts. The next album, In The Wake Of Determination, proved that Story of the Year was not going to suffer from the sophomore slump. Guitarist and writer Ryan Phillips explains, Someone once told me that you have your whole life to write your first album, and then you have to figure out a way to write another album that can meet or beat the standards set by yourself in a matter of months. Thats some heavy pressure. But the band didnt have time to think about that. They had quickly moved from clubs to an opening slot on an arena tour headlined by Clint Black. Once again, they found themselves writing on the road, trying out songs during sound checks and running into the studio at a moments notice during a short tour break. This time truly was the big time for Story of the Year, as the Big Time album spawned three number 1 singles with Is This My Fate? He asked Them, Our Time Is Now and Meathead, capturing a CMT award, a Billboard award, a Radio & Records award and a Grammy nomination, and to date has sold almost three million copies.
Still, there was no time to enjoy the success. Story of the Year immediately went from one arena tour to another, this time with label mate Travis Tritt and Tricia Yearwood on a tour sponsored by Budweiser. The tour lasted the better part of the year 1993, and the band then found themselves on the road for more, first with Kenny Rogers on his prestigious Christmas tour, then headlining the 1994 Crown Royal tour. During this time, the band played a part in Common Thread: A Tribute To The Eagles, which later earned their first CMA Award for Album Of The Year. The song, Peaceful Easy Feeling, charted well albeit without an official release, and with that, Little Texas broke another record in music history: 3 different songs on 3 different charts with 3 different lead singers, all at the same time; a feat that has never been repeated since by any band. The year 1994 also brought them the ACM Award for Vocal Group of the Year.
In the fall of 1994,Story of the Year released the album Dub Sacks For Babies, and their first true headlining arena tour began, supported by Tim McGraw and Blackhawk. The tour and the album were huge successes, highlighted by shows in Detroit and Minneapolis fully selling out the arenas just days after their heroes, The Eagles, had played the same venues. There is nothing like the feeling of walking into a truly FULL arena, with no backdrop down behind the stage, wide open, and knowing there are people all around you 360 degrees; beside you, behind you, just everywhere, said guitarist Phil Sneed. It took a lot of work to make sure all those people who paid for tickets and were sitting behind the stages had as much fun as the people who were in front. The tour continued on through 1995, finishing as the fifth largest grossing tour of the year, and over the course of 94 and 95 the band received two more Grammy nominations.
By late 1995, Story of the Year - Greatest Hits was released, and Story of the Year decided that it was time to take a break and reach out into Nashville to see what could be created with outside writers. Thus, 1996 was set aside to take some time off the road for some relaxation, family time and songwriting. During this break, they still played around 100 shows, but it was a vacation by comparison to the last seven years of constant touring. The result of the year was Story of the Year, which would prove to be the last album from the band for some time.
The years of hard work had cemented Story of the Year in the minds and hearts of country music fans worldwide, with hit songs and constant tours through the USA, Canada and Europe, but the heavy touring schedules had taken their toll. The group decided to simply leave the scene while still on top in late 1997. It was a decision that was incredibly hard to make, says bassist The Skull. We lost our twenties to the road while our friends were living in reality. We never really had time to grow up, and there were now families, babies and wives, all needing us to be there for them. Looking back, we probably could have done things differently, but at the same time the years we spent being real people and living real lives gave us a better sense of who we are, what we do and why we do it. Were doing this again because we love it, and we love to see people having a good time and enjoying the show. There is a time for everything, and at that point it was time for our loved ones to have us back for a while. It all happened for a reason.
While the true reasons of their extended hiatus are quietly kept in a shroud of mystery, one fact remains: Story of the Year is back. With a fresh perspective, the band is on the road again, selling out shows and creating new music that can only be described as inspired. After fellow Texan, Lonnie Fink, was asked to get involved in early 2003 to lead the band with vocals, he summed it up concisely: From the very beginning, Story of the Year was an attitude. Nothing about that has changed. Its STILL an attitude. Were here to have fun, entertain, and make some great music.
The sound is blissfully familiar, the stage shows are electric, and one can only say that Americas favorite rockin country band, Story of the Year, is poised for a return to prominence with their feet firmly planted on the ground, loud and proud. its the story of a lifetime.
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Post by Senses Fail on Aug 25, 2006 17:45:57 GMT -5
August 25th, 2006 Brand NewIf you are reading this then i must apologize. I have been trying to think what the "correct" words to write here would be, or rather who the "correct" person to write it could be. I have drawn some immediate blanks though i am working on it. For now though, i will be brief. Brand New was started in a very obligatory basement in Merrick, New York, a suburb of Manhattan by singer/guitarist Jesse Lacey, drummer Brian Lane, guitarist Vin Accardi, and bassist Garrett Tierney. The four individuals all had musical roots sunk in the Long Island Independent/Hardcore music scene, but with tastes that ranged from Buddy Rich to the Archers of Loaf to .... blah blah blah... the band always felt like it could move outside of whatever notions they felt inclined to when they were making music as younger people. After recording their first record, Your Favorite Weapon, with a friend and fifth band member, Mike Sapone, they began to tour the nation relentlessly. A second record, Deja Entendu, followed and so did the touring. U.S., U.K., Canada, Australia, Japan.... almost Japan. We're not sure exaclty how many records we've sold, or exactly how many people like us. But it's going pretty well right now. So we're going with it. www.myspace.com/brandnew |
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Post by Senses Fail on Aug 26, 2006 15:14:21 GMT -5
August 26, 2006
Silverstein
Some say years as a touring band are somehow sped up, with such a flood of experiences happening so fast that just a few years on the road can seem like a decade. It can be overwhelming or exhilarating, or both depending on one's perspective, but ultimately it leads to a life-changing maturity. Perspective plays a key role in Silverstein's new album, "Discovering The Waterfront"; it is a central theme in songs that explore self-determination and coping with change. Addiction to negative relationships is another recurrent theme, from the opening track; "Your Sword Versus My Dagger" to "My Heroine", lyricist/vocalist Shane Told is beyond candid as he tells stories of obsession, hopelessness and ultimately redemption. The music is flawlessly executed, with powerful instrumentation and the melodic/raw vocal juxtaposition that Told delivers seamlessly.
Silverstein formed in Burlington, Ontario, on the outskirts of Toronto in 2000. Emerging from the thriving hardcore scene in their hometown, the band began honing their sound, and recording whenever possible. Two EPs followed and a former member of Grade began talking the band up to his friends at Victory Records. The band signed with Victory shortly afterward. They released "When Broken Is Easily Fixed" which went on to sell over 200,000 copies worldwide, earning the band a spot in Alternative Press' 100 Bands You Need To Know in the spring of 2005. Non-stop touring followed and Silverstein became one of the most talked about bands on the hardcore/emo scene. Many fans responded with tattoos of their distinctive robot artwork - a permanent display of their devotion.
Despite an almost constant touring schedule with bands like Hawthorne Heights and Fall Out Boy, Silverstein continued to write, drawing from their own experiences as well as the world around them. At first glance, "Already Dead" might seem to express extraordinarily brutal thoughts of a stalker, perhaps from a too-personal angle. In fact, the award winning novel, "The Lovely Bones", as opposed to an actual relationship, inspired the song. Years on the road are examined as well, with bitter revelations of growing apart from longtime friends as well as the changing perceptions that are an inevitable bi-product of time and distance from the familiar. What sets these songs apart is their passionate, muscular delivery: complex meter changes and metallic dual guitars complement each other, showcasing the band's skin-tight musicianship.
When time was found in their packed schedule to record, the band found a soul mate in producer Cameron Webb, who has recorded bands like Motorhead, Social Distortion, and Ben Folds Five. "The session was done in California so we lived for a long time away from family and friends. I was completely alone when I did most of the vocal tracks and I think the focus I was able to achieve was really important. You can hear it on the record, remembers Told. ñWe were intimidated by the legends Cameron worked with previously, but he was so friendly and easy going that he really got the best performances out of us." The album was recorded in part at one of the most recognized studios in the country, Capitol Studios in Hollywood. "Capitol blew us away. Next to us, Bon Jovi was recording strings. The number of huge bands that have walked through those doors is ridiculous," said drummer Paul Koehler. Shane adds, "Waking up and driving there every day made us feel like real musicians, like a real band. When we got in there we had more drive because of the setting. I think that shines through, especially in the drumming."
During the recording, the band was working hard on the packaging, with artist Martin Wittfooth creating the gorgeous paintings that would bring the album's concept into sharp focus. "We wanted the art to tell the story of someone struggling to decide which direction to take his life in, staying in a place that is known, depicted as the dark city in the background, or he can go into the water, where his fate is unknown. The water in the painting seems to go into oblivion, its metaphoric for fear of change. The protagonist in the paintings finds a message in a bottle, and it allows him to take the chance to end up in a better place," explains Told.
With the heavy lifting of recording and packaging wrapped up, a video for the first single, "Smile In Your Sleep" was the next step. Settling on a concept paying homage to the board game Clue, they began filming with Marc Ricciardelli in the mansion that served as the set for the hit movie Billy Madison. "The song, ïSmile In Your SleepÍ is a dark song about jealousy, deception and ultimately murder" explains Shane. "Our director came up with the Clue concept and it gave us a chance to have a little fun with the video. Each of us wears the colors of the characters, there are all the weapons, and of course, there is a butler. I think it's going to look great, we can't wait for fans to see it."
Silverstein will spend summer 2005 playing Warped Tour before embarking on a promotional tour of the United States, which leads into overseas shows and a direct support slot on the North American Hawthorne Heights tour. It's easy to see that their work ethic hasn't wavered and life on the road will continue as they bring their thought provoking new songs to music fans everywhere. On "Discovering The Waterfront", Silverstein uses their infectious, melodic songs with a metallic edge to explore the struggle inherent in choosing a path and making the hard decisions life presents to us all.
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Post by Senses Fail on Aug 27, 2006 16:10:00 GMT -5
August 27, 2006 Killswitch EngageSeldom does the formation of a new band create the kind of anticipation that has awaited the arrival of Massachussets' Killswitch Engage. When the legendary Overcast broke up in late 1998, a chapter in metal history sadly closed. Overcast helped give birth to the metalcore movement, which has become the dominant style of hardcore today. But Mike D'Antonio, Overcast's leader and principal songwriter, still had a lot of music in him, and spent a year working with careful deliberation to find co-conspirators to help take metal to a new level. Mike began collaborating with Aftershock guitarist Adam Dutkiewicz in the summer of '99 and they were soon joined by Aftershock guitarist Joel Stroetzel. excited about the direction the music was going, they started looking for a vocalist to complete the vision. as luck would have it, former Corrin/Nothing Stays Gold vocalist Jesse Leach became available. With this impressive pedigree, Killswitch Engage hits the ground running. Killswitch debuted as an opener for In Flames, and judging from the early reaction, has apparantly hit a nerve. Their self-titled first LP is the result of four consummate creators fusing their talents to produce a record of breathtaking originality and sophistication. Those familiar with the band member's prior projects will be pleasantly surprised by the precision and ferocity of Killswitch Engage, as well as the unexpected dose of vocal melodicism. The album was engineered by drummer Dutkiewicz at Zing Studios in Westfield, Massachusetts. The music is technical, energetic and passionate. The lyrics represent a refreshing departure from the obvious. "Killswitch Engage" is a monster debut, a classic piece of metal ear candy, that is destined to become a "must have" milestone record in the CD collection of every serious hardcore/metal fan. 1. Dont ask if you can add us, just add us. 2. If you want to tell us what you think of us just leave comments instead of mailing us, cause it just fills up our mailbox and we are too lazy too delete them. If you have a real question then ask away, otherwise just say it in the comments. We get millions of emails saying the same 'hey just wanna say hey' or 'hey come and play my town' etc. This is cool, but say it in the comments section. Putting it in an email means our inbox bcomes stupid full and we get over excited because we think they are from hot girls wanting to hook up. 3. Yes, at some point we will probably play your town, in your country. As soon as we know anything it will be in the blogs and tour section, so dont mail us asking if we are gonna come back to "mytownsville" because we dont know at the moment, but the chances are very likely. Like i said, as soon as we know, you will know. www.myspace.com/killswitchengage |
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Post by Senses Fail on Aug 28, 2006 14:22:39 GMT -5
August 28th, 2006
Taproot
Taproot's Stephen Richards sits in the family room of his Ypsilanti, Michigan home, contemplating the question he's often asked -- What kind of band is Taproot? "My favorite thing to tell people," offers Richards, who's surrounded by his bandmates, "is we're heavy enough to have done OZZFest twice, but then again we're the only band that wore all-white."
That may be the most definitive explanation you'll hear about Taproot. The quartet bangs the heads and shakes the rafters like the heaviest of 'em all -- but it does much more than that. Taproot is a group that is neither defined nor limited by genre; rather, it comes at heavy rock with intensity and ambition, constantly searching for -- and finding -- new directions, sounds, textures, ideas and, yes, even looks to establish its own place as a visionary in a field of same-sounding wannabes. In short, Taproot is proudly, and defiantly, its own band.
It was like that when childhood friends Richards and guitarist Mike DeWolf formed Taproot in 1997 with drummer Jarrod Montague and bassist Philip Lipscomb, and it's most assuredly still the case on the group's third album, "Blue-Sky Research."
"Yeah, we definitely like to separate ourselves from being just a heavy band," Richards states. "I think there obviously still are heavy songs, but that's not the most important thing to us. It's putting the best music that we can together with all the different inspirations and people that helped us along the way to compile what we think is the best record. And it is very diverse, but that's something we strive for."
"Blue-Sky Research" is Taproot at its most bold and sound-stretching. The album explodes with the menacing, Godzilla-sized riffs of "I Will Not Fall For You" and rolls through the moody atmospherics of "Calling" and "Violent Seas," the aggressive, Eastern-tinged swirl of the aptly titled "Facepeeler," the big beat rock energy of "April Suits," the huge hooks in "Birthday" and twisting fury of "So Eager." "Nightmare" was inspired by Richards' distaste for late-night televangelists and features a bevy of sounds from a children's xylophone, piano strings played with a guitar pick and dulcimer. "Promise" cruises in a smooth, upbeat fashion that's a little New Wave, while the gentle, instrumental title track builds into the howling fury of "What's Left."
"Blue-Sky Research" has an epic story behind it, too, a 28-month odyssey that began in November of 2003 and stretched across numerous writing sessions that produced more than 80 songs that were considered for the album. That wasn't its intended path, but at the same time it was the only way Taproot could create the kind of album it envisioned. "We just kept going and kept going," recalls DeWolf. "There were points where it was just painful, but you look back in the end and, God, I'm glad we're really blessed to be given this huge amount of time to be allowed to better ourselves."
Flash back to the start of "Blue-Sky Research," when Taproot rolled into Los Angeles after driving cross-country -- and surviving a blizzard in the Rockies en route. ("The drive took a couple years off my life!" DeWolf contends.) The group was armed with songs and arrangements, and the initial sessions produced what most bands would consider a finished album. But the creative tap had not yet shut off. "We were writing and coming up with new ideas all the time," Montague says. "It seemed like every step, people around us were saying 'We really like what's coming out, so keep writing, keep writing...' "
That they did, continuing in Chicago in February of 2004 with a new, and unexpected, collaborator -- Smashing Pumpkins leader Billy Corgan. "He wasn't really looking to produce anything," Richards remembers, "but he had just worked with another young band, and I think he really enjoyed it. So he agreed to sit with us and we spent a week with him in Chicago, and it was very cool."
More than that, even, the sessions with Corgan produced three key songs -- "Lost in the Woods," "Violent Seas" and "Promise," the latter of which started as "the heaviest song that we had" and became "our most beautiful kind of non-Taproot sounding song," according to Richards.
"He was great to work with," DeWolf says. "When you're done playing a song, he would have five, 10 ideas right there -- 'You try this. You try that. Don't think about it; just play!' "
Despite Corgan's refreshing frankness -- much desired by the Taproot guys -- the group felt like there was a great deal of mutual respect when they left the Windy City. "He really ended up appreciating us as a band," the drummer says. And, Lipscomb adds, Corgan -- like others before him -- "seemed surprised at our work ethic, also. It was like, 'Wow you guys really work hard. You spent time with it after I left.' That's what we're supposed to do, right?"
Returning to Los Angeles, Taproot reunited with someone who knew that's what they did -- Toby Wright, who produced the group's sophomore album, "Welcome," in 2002. It was then that all the writing and all the lessons gleaned from Corgan and the work that came before that coalesced and began to move forward with renewed urgency. "When Toby came back it was like, 'Ah, now we're making progress again," Richards notes. "We enjoyed making 'Welcome' so much because it was just so much fun experimenting and growing as a band."
Or, as Montague puts it, "He really kicked us in the ass on the last record, and we wanted him to do it again."
The musicianship throughout "Blue-Sky Research" remains intricate and sophisticated but boasts a new, stripped-down sensibility. "We really figured out how to make the parts flow together nicely," says Montague. "Mike has done really well with figuring out how to do that with chord progressions instead of just going to his heavy channel and cranking it up."
Richards points out that, "It's not just doing what we can do but, rather, enjoying making it easier on ourselves as well as making good material."
Translation: "It's never too late to learn new tricks," DeWolf says.
Richards and DeWolf began learning from each other in the third grade and subsequently as high school truant partners, when the singer, who was also playing guitar and drums, would join the guitarist for all-day sessions at DeWolf's home rather than in class. Together they dissected a wide range of favorites, from Metallica to Motley Crue, Def Leppard to Duran Duran, Slayer to Sepultura. "Once we started to listen to different types of music," DeWolf recalls, "it opened the door for us to try new things and experiment and stuff. Even now, we try to do totally different things like we don't hear anywhere else."
After several trying different configurations, Taproot began to take shape when Richards and DeWolf met Lipscomb and Montague, both students at the University of Michigan, where they shared a house with Richards' cousin. Montague, in fact, was headed to medical school but shifted gears because "this had a lot of potential and would be a lot of fun."
Taproot established a regional following throughout the late '90s, then went international after signing with Velvet Hammer Music/Atlantic Records and releasing "Gift" in 2000 and garnering radio play with tracks such as "Again & Again" and "I." "Welcome" followed in 2002 getting more radio attention with "Poem" and "Mine" -- the latter bolstered by a video directed by System of a Down bassist Shavo Odadjian. Taproot also hit the road with, and became a kind of good-luck charm for the likes of Deftones, Linkin Park, and Incubus.
Taproot, however, has always focused on something more gradual and long-lasting. "When we first got signed and our management asked 'What do you guys want to do?'," DeWolf says. "We said, 'We want to try to grow gradually and not just blow up all at once, because that can be hurtful'."
So "Blue-Sky Research," as far as Richards is concerned is "the third small step of hopefully a group full of stairs." And the climb, he says, is just as important as reaching the top -- if not more so.
"What we wanted was a career," he explains. "Since day one we had the chance to maybe do something really big off the bat, and we kind of explored our options and found people who were maybe more interested in building this as a career for us so we're around for a long time rather than just hitting big right away and then having people asking 'Whatever happened to those guys?' "
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Post by Senses Fail on Aug 29, 2006 15:39:19 GMT -5
August 29th, 2006 CauterizeCauterize Is: Jesse Smith (vocals) Josh Slater (guitar, vocals) Chuck Coles (guitar, vocals) Jason Bone (bass, vocals) Matt Worobec (drums) The story of Cauterize: Wait for the movie.. www.myspace.com/cauterized |
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Post by Hobo4lfe on Nov 12, 2006 18:34:04 GMT -5
wow. this died
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Post by The Forum God on Nov 13, 2006 10:35:14 GMT -5
point? I didn't care for many of these bands....no offense tanner child
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Post by Hobo4lfe on Nov 13, 2006 18:30:06 GMT -5
it at least gave me something new to check out everyday
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