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  1. Interview: Colin Frangicetto /// Circa Survive & Psychic Babble http://sonicxbloom.t...o-circa-survive Colin Frangicetto has always been a personal inspiration for me. It was right around my freshman year in high school when I first heard of him. It was at the beginning of the band Circa Survive’s life, a now thriving force in the music scene. Colin was regularly posting entries on the bands website, which was more of a tour diary it seemed. I remember feeling really connected to him and the band. I can recall him writing about life on tour, it was my first look into the “on the road” lifestyle and it enthralled me. It was the personal, in depth, honest writing that he and the rest of the band did that really made me fall in love with music. Eight years later I was lucky enough to get Colin on the phone and ask him what has been itching at me for years. This interview took place in March of 2012. Colin was juggling his successful art career, his solo music ventures under the moniker “Psychic Babble”, and at the time of the call had taken a break from tracking the now popular Circa album “Violent Waves”. Some of it may be a bit out dated, but the conversation went as follows. (Interview conducted by Tim Brown) First off, tell me your name and what bands or projects you’re involved with. My names Colin and I am in Circa Survive and I paint stuff and I have a solo thing called Psychic Babble. You’ve been involved music for a while; walk through how you got yourself into music. I think I was like 13 and I started playing my dads guitar, he had a guitar lying around, he used to be a band a long time ago when he was in his 20’s. He knew I was getting into rock and he was like “Use this.” It was a Strat I was just messing around with it and then I guess when I started middle school is when I met friends who were into music too. When I was in elementary school and I would start to get into Pearl Jam and stuff when they first came out with Ten. Everyone in elementary school was awesome at sports so I was kind of like, the weirdo and then once I got to middle school I met some other weirdo’s and we started jamming. One of them had a drum set; I think everyone had guitars and shit. I don’t think we even had a bass. But it kind of started to spiral from there. Everyone I had met started to be like “What are you listening to?” or “What do you play?” and then it’s like “Oh, you want to start a band?” and by the time I was 15 I was probably in like four bands at any given time. I think that’s just the way a lot of people get into it when you’re younger. I guess when it got serious was more like 16ish. The band I was in was called Yellow Five. Our guitar player’s dad was a friend with a guy who had a studio, which was kind of crazy for me, but yeah so we wound up recording our first set. And that was the first crazy experience that I had was going into the studio at like 15 or 16 and like having my mind blown about how to record stuff. By the time I was a junior in high school I was in This Day Forward. And I had gotten into Minor Threat and all that stuff like punk and more aggressive stuff. And some guys wanted to play like Converge style stuff and that’s what I wanted at the time. So like in gym class they had said they needed a drummer and I was like well I played snare drum in middle school so I could probably play drums. And plus my neighbor had given me a drum set for my birthday. So I just started learning how to play the set. And we were a band for like a year and you know the hardcore community was so easy to fall into. If you wanted to play you just had to like start e-mailing around and you find people who put on shows in halls and stuff. By the time it was graduation it was like go to school during the week and Friday would come and we would jump in our cars and drive to wherever it was we were playing. Sometimes that was all the way to Florida from Pennsylvania so we would drive Friday night Saturday during the day, get there Saturday night and play the show then drive all the way and miss a day of school, you know? It was crazy. It was an obsession. And all of us worked part time jobs during the week and saved up and when summer came we would just self-book all across the U.S. and it was how we spent our summers, and our money haha. And from then on it just kept growing you know, playing shows in Upstate New York and start catching the ears of people who put on Hell Fest and stuff like that. We were on some local label called Break Even and they like pressed a thousand tapes for us and we never thought we would sell more than a hundred and we ended up selling out within like 6 months. Then Eulogy came around with an actual record deal and from there it just took off. It was more serious and touring nonstop during the summer. By the time we were out of school it was just constantly on our minds like “Should we do this full time?”. We were thinking; Poison the Well and From Autumn to Ashes and Thursday all of our friends’ bands were going full time and hitting huge. And we were like “Yeah let’s go full time, not to get rich just to do it as a job. Make shitty money doing this and it’ll be great.” So we did that for a few years. That actually leads great into my next question; when was it clear to you that this would be a career for you? Well you know its weird because the first inclination to try it was certainly not confirmed with any amazing result. For This Day Forward, our last album was on Equal Vision. EV bought us out of our Eulogy deal and that’s when we decided to go full time. At that point I was in community college and doing This Day Forward part time and going to school full time and I was actually going to community college in Philly and wound up getting an internship working in NY for Roadrunner Records and I kind of finagled my way into getting double credits for it. So I got credits for that and some online courses and bam I was a full time student living in New York City getting a community college degree which felt like the biggest scam ever but I totally pulled it off. It was incredible I met so many people and the hunger to do music full time really blossomed. Seeing all these shitty bands doing it and being fine, I was like “Well we’re good, we can do this.” But touring a year straight for our last album wasn’t really received well by our fan base. They just wanted the chugging breakdowns and we were getting into more structured songwriting with melodies and stuff. That was the year we decided to get a booking agent and a lawyer and step it up but it was so daunting to be on the road. We were on the biggest tour we could ever imagine if you’re a hardcore fan. It was the Take Action Tour with Poison the Well and Shadows Fall and all these huge bands for like 2,500 people, but we sold like one cd and one t-shirt a night and it was like oh we can’t do this. So a year of that put a damper on it for everybody and at that point it was like well we’ve been a band for 6 or 7 years and only full time for a year but it was obvious that it was punishing us and completely ruining our friendships so we just decided to kill that band. It was pretty shattering. Putting all your time and all your soul into something and suddenly its gone. For me I was like I don’t know if I want to do something like that again. So I was writing music on the side and doing it for fun, and maybe 6 months later Anthony [Green] is calling me asking to hang out. We had been buds for a long time and he just popped the question of like “Hey I’m gonna quit my band that’s about to be huge and instead to a project with you, how does that sound?” And I was kind of like why the hell would you do that you idiot. Because to me, I was such a big supporter of him from day one. He was always one of my favorite singers since I met him and Audience of One, his first band; we played tons of tours with them. And after he was getting clean and stuff I was just like “Man, if he can get his shit together…” and when I heard the Saosin demos I was like “This is going to be massive, it’s going to be fucking huge” and when he told me he wanted to quit I was like dude just stick it out because the Anthony I knew was always getting scaring and bailing on things and stuff so I though it was one of those things. He was like “No, we don’t have a lot in common and they want different things from me and I just want to be home and make music with people I love” and he was like “if I quit though then you gotta do this for real with me.” and I didn’t even really give it a though I was like “Yup, okay.” I was kind of betting on him not doing it and less than a week later he totally quit mid flight going back to California to meet back with them, turned around and came home and we started Circa Survive the next day just me and him. And I think within a month or so we were signed to Equal Vision just the two of us without a band and we were getting members and stuff. Crazy. Life for a musician in that first early band can definitely be daunting at times, so how did it feel to experience the massive breakthrough of Circa, especially since it was made on a gamble in the first place. Right, it was probably one of the best feelings that I’ve ever had in my life. I mean basically like I said that whole situation with This Day Forward, getting the chance to have all we wanted and then it turned out no its just a band, it isn’t going to work like that was a huge sense of rejection. I remember being on the tour that we all dubbed the “Scrape Across America Tour” like the whole tour sucked. It was tanking, there was nobody coming to the shows. And then down in California we played Chain Reaction and it was sold out. We thought it was the best thing ever that could happen. And so they’re all in there and everybody’s watching the first band, and then the whole place empties out while we play. We played for like three people, you know. And that was just kind of like we couldn’t catch a break that was just the way things went. So then fast forward like a year and a half later, after Circa had made our first record [Juturna], but it wasn’t out yet. And we out on our first tour, we were with Bear vs. Shark and Gatsby’s American Dream and we were back at Chain Reaction. And we were the opening band and honestly, that same thing happened but in reverse. Everyone came, it was always sold out and we opened the shows, and they were the craziest shows that we had played to date at that point. And it felt like “Holy shit this is real, things are really happening”. We only had two songs out on the Internet that people even knew but you know the whole crowd was just going insane the entire time and as soon as we were done playing, everyone left. And it was like the complete reversal in the same exact spot that it had happened previously and it just felt like…I felt horrible for Bear vs. Shark and Gatsby’s but it felt so good to know that it was working and that just kind of escalated from then on. Our first two tours, we were just that band. We were the opening band getting paid like a hundred bucks a night but we were selling out the shows and people were just leaving after us. And it just felt really badass to be that band. Circa is known for having a really passionate fan base. When you were growing up did you feel that same way about any bands? Man, so many. I think the ones that have really stuck around for me are bands like Radiohead and Pearl Jam. There’s a lot more but it has kind of morphed because a lot of the bands that I was such a fan of when I was younger I’ve become peers with. Bands like Saves the Day and Thursday and stuff, bands that I’ve looked up to forever eventually became our schools in a way. I’m still a total fan of them, but not in the same way I look up to like Pearl Jam or Radiohead or like Bjork; artists that blow my mind consistently that I don’t have a personal relationship with. It’s the same thing with Dredg. We listened to El Cielo like everyday when we were writing Juturna. Never even imagining that our first big support tour would be opening for them. And again never imagining that five years after that we would take them out on tour. And then that I would do an art show with Drew, their bassist, who’s one of my favorite visual artists. It’s crazy the shit that can happen once you get a confidence and start to build on it and you have a fan base that follows you. It’s just a wild ride. Circa shows have gotten a good name for being really high energy and a bit crazy. What’s it like to be on the stage, on the other side of the craziness that you guys are creating? It’s really one of the things I’m most thankful for. As an artist and as a person. I look forward to those spans of time when we’re headlining to our crowds. Don’t get me wrong; opening for a bigger band is always cool and really exciting. But when I know we’re going out for like 6 weeks and we’re headlining so it’s just going to be mostly Circa fans, I know what to expect in a way. Like the energy that’s thrown at us every night. It is so amazingly supportive, passionate, and just dedicated. Every tour gets bigger, and any day where I’m nervous about like turnout or anything like that it always washes away. Like what was I ever worried about. Like now we don’t really worry, we just do our thing. It seems like things are just still in a natural steady incline of healthy growth. Nothing like “We’re going to become buzz band of the week!” or anything like that. And that’s what we want. We want to be that band that organically grows. It was fast at the beginning but now everything has sort of leveled out and I feel like it’s just a very natural thing that we have. But our shows are just so therapeutic. For us and I hope our fans. Like, when my wife was first coming to our shows she was like “Oh my god, I cant understand how people would subject themselves to that kind of shit on purpose. And love it so much.” And one step further she’s like “I can’t believe what Anthony does. Like, letting a million people touch him all the time and just being completely one with them” And I think know she has a total different appreciation where she sees that it is like that. We do try to let down all those barriers and sometimes it’s just a fun rock show but sometimes its borderline spiritual experience. That’s the best it can be. At its worst it’s a fucking wild ass good time. Of all the bad shows I’ve played being in different bands, Circa’s bad shows are most band’s good shows. Our standards have been relentlessly raised over and over again and I think now the confidence carries so much. You let go of the worry and become part of the show and make it something special for everyone involved. Were in a really good spot with it. Touring is something that artists strive for early on. After years it can get pretty daunting though. What’s something about touring that will never get old for you? For me, something that won’t get old is just performing. Because every show can have this unique identity as a stand out time like this is when this happened or that’s the night this happened but ultimately it never really feels bad to have that relief. But there is plenty of shit that does get old. But the release we get from performing will never. And I think just the activity and traveling the world with your best friends it pretty awesome regardless. Speaking of that, Circa recently went for a run down in Australia. How did that go? It was incredible. It was our second time there and the tour went so well, so much better than we ever could have imagined. Especially just looking at the line up at first was intimidating because it was all real heavy bands. We knew it was going to be fun because we had friends like Dredg and Saves the Day and Thursday on there and we knew some bands we wanted to check out. But we had dudes from all over, everywhere from like Slipknot and the Used all these bands you wouldn’t expect to be Circa fans coming up saying I love your band, we were like holy shit really? Haha So you guys are in the middle of recording your fourth studio album. With the past albums, your core sound seemed to change slightly with each new release. So far, is that what we can expect from the new album? Yeah I think so. I think its very fluid with Circa’s spirit. And I think that you would be able to tell that it’s us right away, of course. But there’s definitely a lot of new energy on the record, a lot of new things that we’re trying. This record feels the most free of all of them. It’s definitely the least painful record to make. I think were just in such a good place mentally and as a group just really tight and extremely understanding of each other’s stuff. And in a way we went back to the mentality of Juturna. There’s no focus on people flaws, unless they ask for it. There’s very little fighting. There’s not much debate going on, it’s just like “Yeah that’s fucking awesome, that’s what it should be”. It’s not the huge weight of “Everything’s riding on this record.” That’s completely gone. I feel like we know who we are and we are confident to try new things and were confident that our fans will follow us down any road we tend to go down at this point. On the last record we tried some different ways of songwriting and then kind of split the difference with this one like some of the old stuff that we would do, stuff we learned on the last record and then this new shit that we can kind of experiment with. The last album [blue Sky Noise] was described by you guys as a new chapter for the band, is this one going to be a new chapter as well, or an extension of the last? I think this is a drastically new chapter as well. I think if you looked at our records from start to finish it would be like: Juturna is chapter one, On Letting Go is like the middle of chapter one, and then you have chapter two with Blue Sky Noise and this would be chapter three, in my book. But I’m sure that would be different for everyone. Over the last couple years there’s been so many big changes in all of our lives and I think we’ve come to grips with the idea that nothing lasts forever and that this band is so lucky and we so accomplished already that a lot of this is just bonus stuff now. We just want to do right by us and the legacy that we’ve created. We want to treat our fans with respect and write and perform music that means something to us. And when it seems like maybe that’s not the case, we’ll hang it up.I think there’s something really comforting in knowing that one day this will end so let’s give it everything we have now and not trip out over shit that doesn’t matter. Switching gears to your side project, Psychic Babble. How did that start? Psychic Babble was just a thing where I was writing songs on the side for a long time. Probably around the time of On Letting Go I would write something here and there that I knew was not really Circa-ish. It was just an exercise of continuing to record and do stuff on my own. I was like “Fuck I haven’t sang in a really long time.” All the bands I was in growing up, with the exception of This Day Forward, I would always sing and play guitar and I felt like doing that again so I started singing on these songs and you know after three or four years I was like well I have like 15 songs maybe I should do something with this. I found a gap in our schedule and I was like “fuck it, I’m going to go for this.” I took all the stuff I’ve been recording over the years and refined them. Redid tracks, and just kind of did it. I put it out myself and it was a great feeling. It was a great exercise of like, I don’t have to check with anyone else I don’t have to get a label or go through anything. It was very freeing. When you’re recording with a band it’s awesome and there’s a comfort there, which is great. But doing this there was a loneliness that I think was really important for me to feel to come back to appreciate what I have with a cooperation. Where would you like to see Psychic Babble end up? I really don’t even care. Whatever happens. For me, it’s cool to have a moniker to put music out under. I’m really into doing scoring type stuff. I did a really short score for a short film last year and loved it; it was such a good experience. And I feel like if I ever do that again I would just do it as Psychic Babble. It’s just something there. There’s not this huge goal for it or anything. I’ll definitely make more records, you know? It’s just good having another reason to do something and it’s a totally different vibe than what Circa is. You said before that you didn’t plan on touring PB anytime soon. If you were to, what would you want your show to be like? Well, revising that, I did say that and I stuck to it pretty hardcore in the beginning. I would say I had no plans of touring this. But now the more I have sat on it and the more people have started to appreciate the record and it’s gotten this huge response I definitely want to go out and play shows with it. It just has to be the right time. Basically what I would want it to be is one of those things where people walk away and want to come back the next time I’m there. That’s kind of the only thing I would want to feel. On top of being in Circa Survive and on your own with Psychic Babble, you’re also a visual artist. How do you find time to paint with such a busy schedule? You just have to make time. Right now I get up at 8:30 or 9:00 in the morning everyday. I go to the studio, get there by 11:00 and work there until about midnight. Come home and eat dinner with my wife then I’m usually painting until about 4:00 in the morning. That’s just how I roll right now, haha. I have my first solo gallery show in July, it’s just so important to me. It’s just as important to me as music. I just have to make time for it or it will just go away. Where can people see your art? Just my name dot com. colinfrangicetto.com or they could go to facebook.com/colinfrangicettoart. 12:42 pm • 11 May 2013
  2. Interview with Anthony Green . Livication Media Interview . 09.22.2012 http://livication.com/blog/interviews/2012/10/23/live-video-interview-circa-survive-the-beacham-92212-orlando-fl/#more-809 Just first off, congratulations on you guys releasing another album last month. It must feel really great! Thanks! It does. It’s incredible and it was a lot of work, so its really a relief to have it be out there. And you guys recorded it all by yourselves this time? Yeah we produced it ourselves, we put it out ourselves, we did everything ourselves. That’s really cool, man. And you guys put together some really awesome limited packages for this album that had a lot of one-of-a-kind artwork made by you guys. Can you tell us a little bit about you guys’ experience with that and how that was? It was awesome, we got together for like two weeks and just painted these sleeves. We went and got the artwork printed on the sleeves for the vinyl, just the stencil drawings of them, and then painted everything in. Like, I painted all the ornaments in for the back of the CD. It’s actually the inside of the CD, but it’s on the back of the vinyl. I hand-painted all the little ornaments,Colin did sketches, and I wrote out all the lyrics for people. It was just fun, you know. It makes you feel connected with the people who are like, the most die-hard fans. You know what I mean? It’s a shared connection. It’s something I’m really grateful to have with this band. I feel like we’re in a day where the album itself just doesn’t have as much value because of the fact that people can just take it off the internet. So the more you can do to individualize something to make it something from you, you know, the more likely it is that they’re going to want to have something to hold on to like that. No one gives a shit anymore about the CD. So, give them a painting. Do you think being on a label limits a band at all, or did it just feel right to do it on your own this time? It all depends on what you want from your career. And for a band like us, and what we wanted from our career, it wouldn’t have been right to stay on Atlantic. But, you know, that being said, I’m sure that there’s tons of people that would be able to flourish and have an incredible music career while working with those people. Not us. So what are you singing about in Sharp Practice when you’re saying “we can’t sell our god damn souls anymore?” I’m talking about you guys. Everyone thinks we wrote that song about the record label. I’m talking about you guys. See, that’s why I wanted to ask, because… I don’t like talking about what the songs are about. …it’s up to us to make sense of it, right? (Referencing the line “It’s up to you to make sense of it” in Sharp Practice) Precisely. I grew up in the Philly area and I know you guys have an extremely personal connection when you play shows back up home. I was just wondering, what were some of your favorite local venues to play when you guys were first starting off, that maybe you guys have outgrown now, or you wish you could revisit? You never outgrow a venue. Never. No matter how big you get. You can always do whatever you want. There’s no rule that says you have to play bigger places every time. Circa’s been growing our fan base for 8 years and we can go and play a place like this (The Beacham), but then next tour come back and play two nights at The Social instead. You know. We’ve done that a bunch. We do it on this tour, there’s a couple places we decided, like, rather than play some giant room, we want to keep it really intimate. Bands feel like they can’t do that, I feel like, because they don’t want to appear to have to play, when we really don’t give a shit. We wanna have fun. The last time I saw you here was at House of Blues, and that’s like… Massive. …probably one of the biggest venues in Orlando. I like this place. Beacham’s pretty cool! Have you guys ever played here before? Yeah, I played here by myself, on my tour. That’s right, just back in January. We saw you here. With the dogs. That’s right. So, you guys just released the music video for Suitcase, and was that the first video that didn’t actually feature the band members in it? Yup. And what was it like creating something like that? How involved were you guys? It was incredible. I feel like having to involve a performance aspect of it really limits you. I actually came up with the idea for the video. Like, it was my concept. And the director had this other idea, and I sent him my treatment, and he was like “Hey, what if I did this, and that?” And I’m like…[makes a hesitant face]. He didn’t like the one aspect of it – like, what makes it, fuckin’, so weird. He wanted to change that a lot and we met in the middle. I feel like nobody else could have made it but this dude Dannel who directed it, and I sorta had to push him a little bit to go outside of his comfort zone, but he did such an incredible job, man. It couldn’t have been any better. It’s real weird. You don’t walk away from it going “Oh yeah, that’s about this.” Like, it’s about a lot of weird things. Are there any new cool treats coming for the Creature Club to go along with this new album? Ah, you know, I think we’re in the process of rebuilding the Creature Club. So, it was something that Atlantic set up with us, and I think it’s something we really want to do something very different with from what they had in mind. I think they really saw it as a way to get more money out of the people who were the biggest fans, and we really would rather – if we’re going to have a fan club, we want it to be something that’s a little bit more special than that, and not just about trying to make more money off of people. We’re trying to figure out how we’re going to maneuver the fan club into something that’s like, maybe even free, and isn’t necessarily so exclusive to whoever can afford it. I was actually one of the people that was up on stage singing with you guys. I think it was the first or second time you had done that. At the House of Blues. Yeah. Spirit Of The Stairwell. I think that was the first time we did that. It’s really cool that you guys can do something like that. Yeah, I mean, I still think we’d like to keep people being able to come in and see the sound checks and everything, but theres like a financial process around it that I think needs to be reevaluated and restructured. So, it’s been really great talking to you, man, and thanks for making your way to Florida once again. No problem dude, I love the shows here. I love them. I always have. Tonight’s going to be so fucking good. I already have, like – sometimes, you know, you have weird days where you’re not feeling that great, and you go up on stage and it’s a great show, and you’re like, “Aw, this is great, I really needed this!” and something else is weighing you down. Other days you just know from the second you wake up, like, “Today’s going to be a good day.” I knew that- I felt that today. Well we’re going to get a video of it, because we’ve got a couple people here with our crew and we’re going to shoot a live video, and I’m sure it will be amazing. Awesome! I can’t wait to see it. This is actually the first time I’ve interviewed a band before the show, so… Make sure I look good. You always look good my friend, let me tell you. I look like a fuckin’ crazy person. A little bit, but in a good way. Live Video – Circa Survive @ The Beacham in Orlando FL, 9/22/12 Here’s our live video of Circa Survive performing their songs “Get Out” and “The Difference Between Poison and Medicine Is In The Dose” at The Beacham in Orlando, FL on 9/22/12. As always, these guys put on a tight and incredibly entertaining show, playing many of their greatest songs from each album and blending them all very cleanly. If you get the chance to go see Circa Survive’s live show, here’s a little taste of the experience you’ll have.
  3. SUB. FEATURE INTERVIEW: ANTHONY GREEN TALKS FATHERHOOD AND “BEAUTIFUL THINGS” posted by : Jameson Ketchum on Feb 20, 2012 • 2:47 AM You might look at the image Anthony Green and see the weight of the world on his shoulders. Never a stranger to controversy and the ensuing spotlight followed by a barrage of deeply personal questions, Green subscribes to the idea that its better to put his own positive message out there rather than to remain extremely private and closed off. This idea was heavily tested when he appeared on the cover of last month’s AP Magazine with his one year old son James. Green confesses it was a tough decision but when you see the pair together, it’s clear that there’s little Green wouldn’t do to preserve his son’s eternal protection and joy. James joins us for the first half of the interview in fact. Earmuffs placed firmly on his head, loving every flash of our photographer’s camera. There’s not many musicians like Green in music anymore; extremely friendly and personable, deeply honest and candid, while not coming off as a bleeding heart starving artist. He remembers me from a year earlier when I interviewed him just prior to the release of Blue Sky Noise (easily the strangest interview I’ve ever done). Off the record, Green reveals even more about himself, his seemingly irrational fears and his take on bands being interviewed in general. Talking with Green is like reconnecting with an old high school buddy. You want to remain professional yet you just want to take the guy out for a drink and BS. On stage, Green looks as if he’d be happy never leaving. He’s real with the crowd, joking, starting and stopping songs to tell a quick story, he’s just at home, even when it comes in a disciplinary form (Green stopped in the middle of his first song to tell a kid to stop pushing a girl against the stage and later on that he “wants to punch him in the face so bad” and that the kid has now “lost his singing along privileges”). Often between vocal breaks, Green will step past the mic and look out over the crowd with shifting eyes. It’s almost as if he believes he’s tricking the audience and any minute we’ll discover his secret and walk out the door. As evidenced by numerous sold out dates and the massively positive respond to his new record, its safe to say no one has left Green’s side yet. Substream Music Press: The new record is Beautiful Things. Talk to me about the line, “Now that I’m older I never steal, but I think about it all the time…” I’ve heard you say that that line encapsulates a lot. Anthony Green: I think it had more to do with doing bad shit. Now that you’re older you don’t do it, you just think about it. Which is worse? Thinking about it all the time or doing it? I sort of played around that idea, I’m not a better person I’m just a little better at hiding the darkness. James kicks off one of his shoes. Green spends the next minute or so grappling with his son, now on his back, to get the tiny shoe back on. James lays back and smiles for our photographer. SMP: I just watched the video for “Get Yours While You Can”. You mentioned on the “behind the scenes” that you liked just laying there and having other people carry the energy of it. AG: Yeah. My idea of the video was just having everybody dancing in the middle of it and not even have me be in it. But the label and director got involved and said “You have to be in the video”, and I was like “I don’t want to be in the video”. Videos…to me it’s just not interesting to see a dude singing to the camera, faking some performance. I wanted this video to be something a little different. When we did the “Dying to Reach You” video, we got super into it and we were singing the song super loud and we killed ourselves making that video. The dudes that directed that were incredible and I wanted to be able to do something different from that but still really interesting to watch. I didn’t want to be in it and it was an “over my dead body” type of thing and the director Isaac was like "Okay, alright”. The whole symbolism of me being dead in the video and other people giving the video motion and light was sort of something he kind of came up with from the idea of me not wanting to be in it. It’s a perfect metaphor for how I feel like people can take things out of context and they can start building whatever they want out of your song, your poem, your whatever. If you try to hold onto whatever it means to you too much, it’s going to be really difficult and you have to sort of let other people interpret it and bring it to life. James slides down from Green’s lap and onto the floor. “You want back up?” The father asks his son. “Timmy!” he replies. “You want to go find Timmy?” Green pulls him back up on his lap. SMP: What has James done for you as far as your creativity and your mental state in relation to what you do as an artist? AG: He sort of has helped me keep balance and focus. Green apologizes as his son makes a run for the door leading to the steep steps down to the stage. He then brings James downstairs to find his mother and returns to the green room. AG: Sometimes you and your self preservation isn’t enough to make good decisions. Good decisions meaning like things that aren’t going to put you or anyone who cares about you in harm’s way. I think that for awhile I just had a very difficult time with that, I was very reckless. It was difficult for me to tie a correlation between me being reckless and my personal life. How it affected the things I loved to do and the relationships in my life and James kind of becoming the focus of things helped me realize how silly I was being, how important life is, how important love is, how much I was really trying to escape from the fear of not having that type of love in my life. It’s a scary thing. I think a lot of times we’re so used to numbing ourselves so that we don’t have to face that idea that’s there’s possibly not love in your life and having to maybe look for it or need it. Just needing it is a scary vulnerable thing. He’s kind of taught me how to accept the fact that I need love in my life and that I need to nurture and respect people in a different way. So in that way…just like a 360…made me realize how important people are in my life and how important it is to just be happy. Not even just happy but just being positive and loving and nurturing of what you love. All the really hard shit is always going to be really hard so you don’t need to focus any more of your energy on what already takes it up. SMP: You’re probably having the realization of understanding your own parents a little better as well. AG: A little. My parents were from a different time. As much as I can try and see and understand, I can’t because I don’t know what it was like to be raised like that. They raised me different, more open minded. I know that school is going to be a different priority. I want to take care of him and get him an education and not have it based on like the public school system or private schools even. I just feel like the education system in this country is really fucked and I never want him to feel like he’s competing for intelligence with other people, in my mind or his mind. He is already perfect and he doesn’t need to go to school to become smarter. Man, I had the worst time in school when I was a kid so I won’t ever put him through that. SMP: Not to mention the fact that the arts are going down the drain in our school system but the cool thing is that he’s going to grow up with his dad as an artist. AG: We’re gonna have so much fun as little partners! Painting and writing songs together, singing and dancing. I think he’s going to grow up in a really progressive household where he’s loved, he’s not going to be put in competition with other kids. I hope that. SMP: Switching gears a bit. The new record feels really diverse, especially compared to Avalon. Are you more free with your solo stuff than you are with Circa? AG: Yeah. Just because my solo stuff is whatever I want it to be. I don’t have to bounce any ideas off anybody if I don’t want to. That being said, there’s a lot of what I do with my solo stuff that is extremely collaborative with the Good Old War guys. It’s just a different kind of collaboration. I absolutely love Circa, it’s my baby, my first love. While me having a little bit more freedom in a project is nice, I think the thing that makes Circa great is that everyone is able to have their input and we can work together, make decisions together and make something greater than what you make on your own. SMP: You kind of touched on this, but the fact that you can do what you love for a living, and now more importantly, support a family with it, is incredible and something that so many people out there don’t get to experience. Is that still an every day shock? AG: Any days that stresses come up with this job or whatever, it’s just like a job in that it has stresses and things that fuck you up. Every once in awhile things will bum me out or something will be freaking me out but its such a great experience, its such a great opportunity that I can’t believe its still happening, to be honest. Every tour I do, every record I put out, I feel like I’m just waiting for the other shoe to drop. With this record specifically, I was ready for my solo career to be cut. Because the record is really weird and it’s not like anything. I didn’t expect people to respond to such a drastic change. I was very braced for a backlash. I feel like people who have liked my solo stuff have really liked the record and that’s just from the people coming to shows and the shows being sold out all over the place and it just been crazy awesome. I mean, I don’t know what people say on their comments on the internet but I know from these shows that it’s been way better than I expected, I don’t really understand it (laughs). SMP: Maybe the response is because you’re so bold with your solo stuff. A lot of singers “go solo” then just write stripped down versions of their band’s songs. I was at the Where’s the Band Tour the other night and don’t get me wrong those guys are amazing writers, but it made me think when I heard how different your solo stuff was on this last record. AG: I want to be on that Where’s the Band Tour. I want to do a tour that’s just me and an acoustic guitar. SMP: So this tour is for Keep a Breast. What does that charity mean to you? Any close to home stories? AG: I have a few personal family connections with cancer and breast cancer, people that I don’t necessarily want to talk about their stories but Circa has been working with them since 2006. It’s just been a great experience to work with a charity that is so centered on awareness, not just breast cancer but cancer in general. They’re really good people who spread a really good message. It’s a pleasure to be out on tour spreading positivity and to be aligned with a charity like them. It’s a dream come true. My son and I are painting a cast of the girl who is at the booth tonight, which is odd because we’ve been on tour with her for six weeks. When they casted her boobs, they brought it on the bus and I was like “I don’t want those things in here”, there’s already two more boobs than I need on the bus (laughs). But she’s like the greatest girl ever but I just feel uncomfortable with those boobs around. Then they were like “Do you mind painting them?” so Meredith, James and I will be painting them. I’ll tell James when he’s older that he painted boobs (laughs). SMP: He’ll discover them sooner or later. Anything else you’d like to add? AG: I really hate Valentines Day but I’m really stoked to be here on Valentines Day. I fucking hate it and I’ve been married for years. I have lots of love in my life, I just hate corporate holidays. That being said, when I was a teenager and I had a girlfriend, which was very rare, and it was Valentines Day, I went all out. I was fucking romantic. It was everything: the standard, flowers, chocolate, heart shit and plus totally “me” type shit. I would hand make something, make dinner, go somewhere and do something fun. SMP: What was the weirdest thing you gave someone? AG: I had a girlfriend and we had a whole Valentines Day where we were trying to gross each other out. I took her to go see this move that was playing an hour and a half away from my parents’ house at some weird theater. It’s a movie about a doctor who falls in love with this woman who got into a car crash and so that she can’t run away, he cuts her arms and legs off. Then he makes her watch him have sex with prostitutes and stuff. I won that contest. She loved the movie then we went home and drank my parents’ red wine and did it on their couch. It was great though. I think she got me a pig’s heart and I didn’t even know what it was. That was nothing. Later on stage, Green reveals that one of his worst Valentines Days happened before he could even drive. He invited a girl out to see the movie Beethoven. Her curfew was before the movie ended so Green, the girl, and his father had to leave the movie early to take her home. On the way to her house, Green pooped his pants, therefore foregoing the possibly romantic walk to the front door. SMP: I hope you don’t do that kind of stuff with your wife now (laughs). AG: (Laughs) We’re going to go out to dinner tonight. We’re very aware of romance in our lives and like not letting children and life changing things strip that away. We stay up really late burning the midnight oil. It doesn’t hurt that there’s times where I’ll be gone for two weeks and I won’t see her. Although it sucks, its nice for a couple to have a little break from each other sometimes. You have to keep that in mind, you can’t forget it. Sometimes you forget to eat. Interview by Jameson Ketchum Photos by Macy Langley of Riot Photography http://www.substream...autiful-things/
  4. Circa Survive . 12.2012 . Inked Magazine . Interview/Article
  5. An Interview with Colin Frangicetto from Circa Survive: Making Waves —by Alessandra Donnelly, October 25, 2012 Acclaimed and seasoned rock outfit Circa Survive are no strangers to the process of music making. With two EPs and four full-length albums in their past, the group’s latest musical evolutionary step has been dubbed Violent Waves. The self-produced work was recorded in an organic environment close to the homes of the band’s members, with “Suitcase” being the first single, as well as video, to be released. The album dropped on Aug. 28 and was received with open arms, garnering positive feedback on all ends. The guys seem to have strengthened their control over creating addicting melodies, flavorful guitar parts, and songwriting in general. This act has a strong following, a dedicated fanbase, and the guys continue to flourish as musicians. Circa Survive have embarked on a U.S. tour spanning throughout the fall with O’Brother, Balance And Composure, and Touché Amoré. Having accomplished much within the lifetime of the band, the boys have many more endeavors ahead of them. Their guitarist, Colin Frangicetto, took a moment while on the road in Arizona to speak with The Aquarian about all things Circa Survive. This is what he had to say: The band’s latest record, Violent Waves, is distinctly different from your previous release, Blue Sky Noise. How did you approach the recording process this time around? The actual recording process was quite different because we chose to self-produce [the album] and we did it in a studio that was pretty close to our homes. We were home every night whereas every other record we’ve made, we made away from home. Twice we were in the Baltimore area, another time we were in Toronto. This was a much different feeling, you know, kind of going there in the morning, meeting, and then going back to our homes at night and kind of resting up. In general, we have just been in a much healthier space, you know, because at this point, we are all a bit older and Anthony [Green, vocalist] has a family. A few of us are married and there is just a pretty large kind of comfort that comes from being able to keep that intact while doing our thing on the record. Then, of course, there is just the day-to-day working at a pace that we decided every step of the way; calling all the shots ourselves was a huge change. As far as writing it, it was very similar to how we wrote all the other records as far as what we had in mind. You go into every record with a mindset of trying to make the best record possible in the most honest and creativity-inducing kind of environment. “Phantasmagoria” is a particularly cool song with thought provoking lyrics. Where did this track come from and can you explain what it’s all about? I wouldn’t really be able to explain the lyrics; that’s definitely more Anthony’s territory in a sense. On this record especially, he was very pure; there was really no outside input from any of us about his lyrics this time around because I think all of us just felt the lyrics just came from a very cool place. I felt they were really inspired and kind of unquestionable. My interpretation of it is things that you pine over and want; you place value and desire in the wrong places. It is obviously pretty multi-layered in meaning. The song itself came from… that was one of the ones that Anthony just brought in and it had a full structure of chords, and just a very interesting song structure, with no real, like, jump-out-at-you chorus or anything. Needless to say, it is one of the more catchy songs on the album. It is one of the more oddball songs on the album as well. It kind of sticks out pretty largely. Oddly enough, it was kind of one of the ones that I was in question about for a while, but it’s interesting to see how it plays out live. It’s such a sing-a-long song; it’s definitely a fan favorite already. The first time we played it live on this tour it was kind of mind-blowing to see how the song really came to life in a live setting. Now it is one of my favorite songs, so it’s interesting how that happened. It’s definitely a journey. The video for “Suitcase” is the first one that you have released. Where did the idea for that video come from? That was pretty much a brainstorm session that started with an idea that Anthony had. We had this idea of a girl opening a suitcase and her traveling with this guy and witnessing some stuff that was more on the dark side. We were a little nervous about finding someone who could accomplish that vision. The guy who worked on the video, he is a close friend of the band, he just nailed it. Collectively, it is our favorite video that we’ve made so far. In general, it is challenging to make a music video that is captivating without any band performance in it. It felt really unique and really thought provoking, if you ask me. What did you guys want to bring to the table this fall, as far as a live performance goes, on your tour cycle? Every time we try to step up our game, production wise. We try to make it visually interesting, obviously not as much as sounding good and all that stuff. The one major difference in this tour for us has been we chose to play a different setlist every night. We rehearsed a pool of about 50 songs before we left; we have a pretty large pool of songs to pull from. It’s really gratifying to really change that. I think we are probably much better musicians for it. I find that every night I go on stage, the less and less anxious [i get] about it. I’m really excited about it, to see how songs translate live. Were you previously acquainted, prior to the tour, with the bands that you have brought along? We knew O’Brother from a smaller tour we did with them; we stayed really close friends with them. They’re just really good guys and we’re just kindred spirits with those guys. We were hoping that we could do a big tour with them so we were glad that this worked out. We have a lot of mutual friends with Balance And Composure and we also recorded with some of the same people as them. Anthony has been out on tour with them before and we also really wanted to make this happen. Touché Amoré are kind of a new band that, as far as for us, we’ve never played with them before. I think them and Balance And Composure have actually worked together before this. Most of the bands knew each other one way or the other. Everyone is very friendly and we hang out as much as possible. What musicians do you look up to? I guess the guitar players that I keep going back to are Jimmy Page from Led Zeppelin, Radiohead—there’s endless amounts of artists that I’m inspired by. Ultimately, I think the guys that I’m in the band with, those are definitely the people that inspire me the most. They are the ones I get to watch and experience their creativity and their skill. Is it possible for you to pick a favorite track off of Violent Waves? Uh, it really changes every day. It’s weird. I think at the moment, I really love playing the first song off of the album [“Birth Of The Economic Hit Man”]. There are two songs that I really love just to listen to—“Brother Song” and “Blood From A Stone.” Those things make me feel really good. What’s in the near future, besides touring, for Circa Survive? There always is [touring] but a lot of the times, I’m not always really aware of it until we talk about it. Hopefully, you can expect us to tour a little more, go overseas, do that kind of stuff, and then eventually come up with another album, you know. http://www.theaquari...e-making-waves/
  6. The PureVolume Q&A: Circa Survive's Anthony Green On DIY, Staying Weird, and the Core of Success By: Alyssa Coluccio . 08.27.2012 When change occurs, it's not uncommon to search for ways to reject it. Sometimes though, a select few embrace it with open arms, and without fear or thought for consequences. Circa Survive chose the latter route when, eight years into their exceptional career, they made the decision to self-release their new album, Violent Waves. As frontman Anthony Green will tell you, the result has been nothing short of rewarding. Violent Waves, which officially drops tomorrow [August 28], showcases the band's incredible depth of musicality and thought, presenting an effort that speaks as much to their past as it does to their future. Here, we catch up with Green for an inspiring chat about breaking molds, making emotionally-charged music, staying weird, and what it really means to be successful. PureVolume: It's an interesting move to self-release an album at this point in your career. What was the breaking point in this decision? Anthony Green: We really approached the idea a long time ago, before we had even signed to Atlantic Records, but we figured we might as well try doing it with a label and see how it works. We tried it with them and, for us, it was a great experience. We got to use all of their resources and they were really great partners as far as never expecting us to compromise with our creativity. But the thing with a label is that they’re like any other business and they need to make money. They spend a lot of money on bands and I don’t think they saw the return coming in quick enough. We didn’t return as much money in the first year as they wanted us to, so they wanted to move on, and the thing about our career is that we’re not going to stop making music because we didn’t make enough money. And I think that the breaking point was really just having the opportunity [to self-release]. When we decided that we weren’t going to re-sign with them and we weren’t going to do the record with them, there was a really interesting thing that happened. They contacted us in the beginning of our writing and told us that they wanted to offer us less money than they’re contractually obligated to give us in the record contract we had with them, because they didn’t make as much money back. But because of the contract, in offering that, that offered us an out. So that was really the breaking point. It was like, well, if you’re not going to let the band grow, and grow in time, than we’re going to take this opportunity to really try to do this on our own. Every day the last couple of months that I’ve been preparing for the record, (laughs) I thank our lucky stars that they came to us. This just felt like the right move for us. PV: In “Sharp Practice” the lines “you get what you pay for/we can’t sell our god damn souls anymore” seems to resonate with that. Was this your way of expressing disdain for the industry and what had happened? AG: I think that had more or less to do with the fact that music is available for free if you can somehow get it online. It’s not necessarily a direct stab at the industry, I think it’s just more the fact that we’re trying to make money off of something that is free [laughs], and asking people to buy something that they can very easily get. It wasn’t necessarily directed at the label but I can see now how there are themes that had to do with working with Atlantic, and working with people trying to create a market for a band like ours which is a little bit weirder, and create an audience therein for something that’s a little bit more off beat. PV: In light of that, was it particularly difficult for you to deal with the album leaking a few weeks ago? AG: It was a bum out at first. When I heard about it I got kind of scared, because we all expected it to leak, but I think that we expected it to leak a little bit closer to the release date. But then when you think about it a little bit, and you really accept the fact that this band has always been carried by the passion of our fans, and the fact that they have the record and they can digest it for a little while, it’s really positive. That really helped us. It’s going to happen anyway and it doesn’t change anything. If anything, it just gives people something to talk about and it gives them the actual audio to start listening to and go around and start talking about. So, at first I was kind of bummed because a lot is riding on this, but then I realized you have to try to find the silver lining. PV: You mentioned that your decision to release independently has made you deeply involved in every aspect of this process. Aside from writing, recording, and distributing, how does this album represent the people you are as a band and as individuals? AG: There are a lot of tasks involved in putting out an album on a label, and the label helps in the decision making. I think that doing it this way really helped our band come together to figure out ways to compromise with each other. We run our band very much like a democracy. We all want everyone to be happy, but you have to make a decision on some things. It really forced us to figure out how to compromise when it involved decisions regarding our music, and how we represent the band, and how we market the band in a way where we're not trying to market it as so much of a product, like a t-shirt or a CD, but really put ourselves out there as artists who are trying to pass a message on to people. The music is very personal, the songs are extremely personal. We’re not passive people, we can’t not like something we put out. So it’s really put us in a place where we decide ‘this is what the band is,’ and try to make decisions that send out the message of our band, which is the fact that if you go towards what you’re passionate about in your life, you can accomplish things because of your passion. We were focusing on that rather than trying to just find a brand. It’s really been important to us. PV: Being that these songs are so personal, and maybe even more personal than any you’ve written in the past, did your songwriting process differ? AG: You know, I still think it’s a lot of practice makes perfect. There hasn’t been a label, or any people that we’ve worked with, that have assessed the way we write, or have assessed our music and our lyrics. It’s always come straight from us. And in that respect, it’s more like giving the voice tuning — don’t just hear it, but hone in and figure out that it gets better and better if you're introspective, and use it in an almost therapeutic way to express whatever may be happening in your life. This being our fourth album, we’ve had a lot of experience working with each other and writing songs together, and I think the more we do it the better we get at it. The deeper we’re in it, the deeper we’re able to go. We really focused on the aesthetic of the band. And the people that like the band will like [the record] as long as we’re doing it for the right reasons, we’re doing it for ourselves, and we’re doing it as a therapeutic process. They can see through bullshit. We’ve never done that, we’ll never be that, and I think we’ve gotten better and better at going as far as possible and really coming straight from our hearts. PV: That genuine quality definitely seems to be one of the main things that draws Circa fans in. AG: You can tell. I know that the people who listen to our music are epic fans and they’re the people who like the same kind of really passionate, emotional art — the kind that has dark and light. We’re never going to be that kind of giant, marketable band. I feel like we’re the kind of band that are more of the outcast type, the artist type, for people that are a little more eccentric. I could be totally wrong (laughs) but that’s how it seems to me! That’s always been what I’ve been trying to do. We’ve always tried to work with people who would market the band’s weirdness, and I don’t want to market [the music] and put it out so that it makes the top 50 countdown. I want the people who are weird to feel [connected to it]. PV: Like you had mentioned before, this album does go back and forth between heavier moods and lighter, almost atmospheric tones. It’s a great balance you’ve found. AG: That’s awesome. I think if there was any goal I had for the album, it was to have a balance. I wanted it to be just as much of a question of itself as an answer, and I feel like closing the album out with the song “I’ll Find A Way” speaks to that. It’s kind of like, ‘I’ll find a way, I’ll figure it out.’ Sometimes we don’t know the answer, but we don’t have to stop trying to look for it. PV: You’ve been in the game for a while now. What have you learned about the industry and being a successful band? What do you think defines success? AG: You know, it’s a weird thing. The industry is so fucked, and you can’t really define success in numbers. You can’t really define it based on Facebook friends or Twitter followers. It’s about being able to sit there.... and really love what you’ve done. If you’ve been able to really exercise something, or create something, there’s a feeling you get there. It’s a rush, it’s like a drug rush. And if you have that, if you have a feeling like that about something you’ve done, that is an accomplishment. That is success to me. And I can’t say whether or not this record is going to help the band to go on, if it will feed my kid, I don’t know what’s going to happen, but I know that it gives me that feeling. To me, that’s success. http://www.purevolum...usive-Interview http://www.purevolum...case-Live-Video
  7. Backstage interview with Anthony Green of Circa Survive October 5, 2012By Jessie Frary Pre-Show Treat My friend, Marissa, and I were amongst the growing mass of fans that showed up early to hang outside of the Center Stage venue in downtown Atlanta to see the sold-out Circa Survive show (she and I were probably a little more giddy than the rest, because we were waiting for a one-on-one interview with Anthony Green himself). Everyone’s eagerness paid off- all of a sudden, on the front steps of the venue, there appeared all of the guys from Circa to play a mini acoustic set for a website called NervousEnergies.com. Some reward. They played “Sharp Practice” and “Suitcase” from their new album, Violent Waves, and everyone, including me, was taking videos and snapping pictures like mad. Shortly after this, their tour manager, Jeffery, called us in, and we waited to interview Anthony in a small room in the basement. More on that later. The Show The first to kick off the show was Balance and Composure, and they immediately got into it. The lead singer even got a little “over-animated” and knocked over a couple of the drummers’ symbols. If you haven’t listened to them before, you need to, and you need to see them live (side note: they remind me a lot of Brand New). Next up was Touché Amoré, and they threw down a little harder than B&C. The lead singer was all over the place getting the crowd hyped up. For those who are unfamiliar with them, they sound a great deal like La Dispute (which might explain why they have a split record with them). Bottom line: these bands are touring with Circa, so you know they have to be legit. And finally, what everyone had been waiting for- Circa Survive. Anthony Green walked on stage. Everyone (including the men) started screaming like little schoolgirls. I was super lucky to have a photo pass, so I got to be right in the photo pit. The place was packed. Frantically crowd surfing, everyone hoping to get close enough for a handshake from Anthony, who was working the crowd as hard as he could (including some seductive gestures and comments that sent everyone into a frenzy). Their set was beautifully lit with tall, rectangular boxes of light and mirrors backlighting the band. They played new material from Violent Waves, such as “Suitcase”, “Birth of the Economic Hit Man”, and “The Lottery”, as well as a few older favorites like “The Glorious Nosebleed”, “Strange Terrain”, “Stop the F*ckin’ Car””, and “The Great Golden Baby”. Right before Anthony got down, I raised my fist and got a fist bump from him (as if the interview wasn’t enough). They encored with “Get Out” and “Lazarus”, to the delight of the entire crowd. The Interview VM: Why did you choose to write the album [so quickly], then self produce it? AG: It was written over a couple months, but it was definitely the fastest-written album that Circa’s ever done, and the self producing thing…whenever we write songs we just demo them ourselves, and it got to the point that the demos were sounding really, really good…so we just decided [to] try to find a studio in the area, and we have buddies of ours that work in this great studio…called Studio 4…all these legends have recorded there, and they let us get some really cheap time and we went in… they managed to do the record in like two and a half weeks. So it was like the best thing ever. VM: I bet it was kind of hell trying to do that all [so quickly] though. AG: I mean, it wasn’t that hard…We worked really long hours, just because of all of our attention spans. I felt like we had to do that. We enjoy it- it wasn’t like, hellish. Not doing this with a producer sort of gave us the freedom to try a bunch of different things, and we were on our own dime, so if we stayed real late, or if we needed to we didn’t feel reluctant to keep going. VM: I’ve noticed that you guys are definitely trying to hone in on more of the raw sound, like how you would sound live versus studio-produced. Has there been any kind of fan reaction that you guys have noticed? AG: Nobody’s really said anything about the quality of the record being bad. I’ve heard a lot of people just say that it sounds more like us than most of the other records. The other records were glossier. I feel a producer does a record, and they are almost more concerned about how it’s going to sound to their producer buddies than it’s going to sound to the artists’ fans. I think our fans are used to coming to the show, and they hear the vocals a little flat or a little sharp at times, because of whatever reason…that’s what makes it feel good, you know…that’s what makes it feel warm. It’s the same reason why people listen to vinyl, because it’s not a perfect sound. VM: How do you feel about the sound on this album compared to your others? AG: It’s hard to say, because I feel like every album is a different, newer chapter in your life, so you go back to the thing you were writing about when you were 22 or 23, and you were like…. ‘Yeah, I was 22 or 23. I love everything.’ There’s not one song that we’ve written that I can’t sing that I feel is not cool. Obviously this album feels closer because it’s dealing with stuff that’s going on right now. But then in a year’s time the songs will all take on a different meaning, and that’s just how it grows. It grows, and it changes. VM: I know you alluded to it, but what was your motivation and inspiration for the album? AG: So many things…my dad got real sick- that’s kinda what “The Lottery” is about… I kinda hate it when people are like ‘what inspires you?’, because there are so many things. It’s such a hard question to answer, because there are so many things that inspire me- like my relationships with the guys in the band, with my family, just with you guys, the people that come to the shows and stuff- that’s all what this record is really about. VM: That’s awesome. I guess we will take it back a little bit- what kind of music did you grow up with? AG: Bands like Touché [Amoré] and Balance [& Composure]- listening to music like that. VM: Can you list a few? AG: Aw man… Quicksand, Handsome, Burning Airlines, At the Drive In, Cave In… Cave In was a huge band… Braid, The Get Up Kids, Falling Forward, Code 7, This Day Forward. I loved Nirvana…loved Nirvana. The first album I actually got was a Metallica album. The second album I ever got was Nevermind. I was 15 when I got Nevermind; it was a music thrift shop, like a used CD was 15 bucks… so much money. VM: So how did you become involved with music? Was it just through those bands/did you have any family members that were musically inclined? AG: I was just hanging out in places as a kid. We would just go places to hang out, and I found this skate park near my house that bands would play out of every weekend, and we started going there…wherever there would be a show- a local show or local bands- I was there. And then just tried starting a band. I met some people and put a band together and made, like, a grindcore band, where we just made noise. We wrote stuff- there were songs! VM: What was it called? AG: It was called Audience of One. Then that band started and sort of became like a grindcore, hardcore band until it had songs and singing and stuff. I don’t know how it shifted. It was never one thing. It was just like…we started out with this one drummer, and he was a crazy metal drummer. He couldn’t be in the band anymore, because he couldn’t go out like past 11. So we had this other guy come in that liked more of the music we liked- like indie rock and stuff, and we just started jamming. It was awesome. VM: So from there, how did you transfer into Circa? AG: I don’t know. I really don’t know. I just played music all the time with people I knew…Somebody in California had heard some of my stuff- the guys in Saosin had heard my stuff that I had done at home, and some buddies of mine that were out there were like, ‘Yo, you should come out and try out for our band.’ So I went out there and tried out, and then within the next four days recorded that EP that I did with them. Then, moved out there a couple months later to start touring. I was like, ‘this is great. These guys wanna start a band and go on tour, and there’s record labels, and there’s California and stardust.’ I just wanted to go out there and be a vagabond, and my parents were like, ‘the f*ck’s the matter with you? You can’t sing. You can’t do any of this. You don’t know what you’re doing.’ And I was like, ‘yeah, I know, but I’m gonna do it anyway…if you guys are really supportive, then I’m gonna go do this. You have to trust me.’… I was 20. And I moved out there, and ever since then I’ve been doing music. VM: That’s awesome. [Marissa: That reminds me of us, just always going to local shows]. AG: Yeah, that’s the best. You just go…and… have you guys ever read The Celestine Prophecy? VM: No, but we probably should. AG: You ought to just follow your heart; follow your instincts that lead you down good paths of beautiful things and light and all the stuff you want. You’ll get it. VM: It’s true. So what made you want to come outside and play a mini acoustic set for us? I know most bands don’t do that. AG: Ryan [Russell] has a website where he has this thing called Nervous Energies…he films bands playing, and he asked where we wanted to do it, and we were like, ‘let’s just go outside and play for the kids.’ He was like, ‘no one’s ever done that on the site before,’ and I was like, ‘then we are definitely doing it now.’ VM: I think that is really awesome, because that breaks the barrier that some bands have with their fans. It’s kind of like ‘we are too good, too untouchable’. You guys playing outside made it personal. AG: It’s weird. I think if there’s anything that we as a band have to people is that we are just working class dudes that are able to continue to play music for you…There’s not some difference between you and your favorite band… But they worked really hard and sacrificed whatever they had to get to where they are…you’re going to have to cut comforts or whatever. I know I slept on so many floors with so many weirdos and crashed in people’s houses and was such a pain in the ass to deal with…but it was worth it. VM: So true. What do you enjoy besides music? AG: My kids… I hear guys with kids say, ‘oh, once you get married and have children, life’s over…you won’t have a life anymore. It’s all about their life,’ and I couldn’t disagree with them more. I feel like I never really had a life until them. I just love them so much. I miss them so much…When I’m here I don’t have to worry…about anyone but myself, and I’m pretty low maintenance. I’m smelly; I might not be clean for a couple days. I don’t have to clean anyone’s diaper or anything like that…. And I would rather be cleaning people’s diapers. VM: I imagine you’re kinda tugged both ways. Like when you are touring, you miss them, but when you are home, do you miss traveling and playing shows? AG: I love playing. It’s my favorite thing in the world. It’s the only thing I’ve ever really loved like that before I had the children. It gives you this insane high that I still haven’t found anywhere else. It’s way harder than any drug I’ve ever done, and I’ve done a LOT of drugs. I love it, and I feel no pain when I’m doing it…It’s awesome…I still get that adrenaline rush from it. I still feel incredible about it. Right now, today, I’m having a little bit of a rough time being away. My perspective on it is a little bit skewed, because I feel things with an intensity with a manic type of feel…You just have to not be a f*cking weirdo about it, and I’ve just been being a weirdo about it today. When I hear people complain about being on tour or missing people or whatever, my normal reaction has just been, ‘f*ck you. You can get out of the way and let like the thousands of millions of other people that wanna do it and have that commitment- you can let them do it’. I’m sure there’s a bunch of people that would leave their kids alone for six weeks to go out and do this. VM: Well we are really stoked to see you play! AG: I can’t wait. I f*cking can’t wait. I can’t believe I have to wait until 10 o’clock… Beautiful man http://vinylmag.org/2012/10/05/backstage-interview-with-anthony-green-of-circa-survive/
  8. ANTHONY GREEN w/ Geoff Rickly 12.05.2012 - New York, NY @ Irving Plaza 12.07.2012 - Philadelphia, PA @ Theatre of the Living Arts 12.08.2012 - Freehold, NJ @ Encore 12.11.2012 - Ft. Lauderdale, FL @ Culture Room 12.12.2012 - San Antonio, TX @ White Rabbit 12.15.2012 - Los Angeles, CA @ The Fonda Theatre 12.16.2012 - Pomona, CA @ The Glass House
  9. Circa Survive - Sharp Practice (Music Video) . [09.19-20.2012] . (12.20.2012) Director: Chris Walldorf Cinematographer: Adam Stone (@ Mortimer Jones)
  10. Exclusive Preview: Circa Survive's "Suitcase" Video Catch a sneak peek of Circa Survive's latest video before its Fuse exclusive debut Thursday morning! http://youtu.be/88UcWXOUq4o The first video from Circa Survive's just-released album Violent Waves is almost here! Fuse is pretty damn stoked to be debuting the Philly alt-rockers' "Suitcase" music video this Thursday morning (8am EST, set your alarm), so we decided to show you a quick teaser of the clip above. "Suitcase"—which finds frontman Anthony Green singing with Rachel Minton of Zolof the Rock & Roll Destroyer—just might be the band's best video yet. As you can see in the clip above, a sprightly blonde rockin' the pixie cut shrinks and hops into a businessman's suitcase and starts dancing around a churning sea of briefs... and not the legal kind. Watch the video above for a tease of the "Suitcase" clip and check back on Fuse.tv this Thursday at 8am EST for the exclusive full video! Premiere: Thursday, September 13 at 8 AM EST @ Fuse YouTube Channel
  11. Circa Survive Record Release Shows w/ The Christmas Lights & Bear Hands 08.24.2012 - Philadelphia, PA @ Union Transfer (Doors: 7pm/Show: 8pm) $20 [On Sale: 06/29/12 - 12pm EDT] 08.25.2012 - Philadelphia, PA @ Union Transfer (Doors: 7pm/Show: 8pm) $20 [On Sale: 06/29/12 - 12pm EDT] Circa Survive Violent Waves Late-Summer/Fall Tour w/ Touche Amore, Balance and Composure & O'Brother 09.13.2012 - New Haven, CT @ Toad's Place - (Doors: 6PM/Show: 7PM) (Advance: $20/Day of Show: $23) [On Sale: 06/29/12 @ 12PM] 09.14.2012 - New York, NY @ Terminal 5 - 7PM [Presale: 06/27/12 @ 12:00 PM] 09.15.2012 - Boston, MA @ House of Blues Boston 09.16.2012 - Baltimore, MD @ Rams Head Live 09.18.2012 - Norfolk, VA @ The Norva - 6:30PM [Presale: 06/29/12 @ 12:00 PM] 09.19.2012 - Charlotte, NC @ Amos' Southend Music Hall 09.21.2012 - Atlanta, GA @ Center Stage Theatre - 9PM [Presale: 06/29/12 @ 12:00 PM] 09.22.2012 - Orlando, FL @ Beacham Theatre 09.23.2012 - Ft Lauderdale, FL @ Revolution Live - 7Pm [On Sale: 06/29/12 @ 10:00 AM] 09.26.2012 - Nashville, TN @ The Cannery 09.28.2012 - New Orleans, LA @ House of Blues New Orleans - 6PM [Presale: 06/28/12 @ 10AM] 09.29.2012 - Houston, TX @ House of Blues Houston - 6:30PM [Presale: 06/27/12 @ 10:00 AM] 09.30.2012 - Dallas, TX @ House of Blues Dallas - 7PM [Presale: 06/27/12 @ 10:00 AM] 10.02.2012 - Austin, TX @ Emo's East - 8PM . $20 . All Ages [On Sale: 06/29/12 @ 10:00 AM] 10.03.2012 - San Antonio, TX @ Sunset Station 10.05.2012 - Tempe, AZ @ The Marquee 10.07.2012 - Pomona, CA @ The Fox Theater - 6PM [On Sale: 06/29/12 @ 10:00 AM] 10.10.2012 - Los Angeles, CA @ Club Nokia - 06:30 PM [On Sale: 06/29/12 @ 10:00 AM] 10.11.2012 - San Francisco, CA @ The Regency Ballroom - 6:30PM [On Sale: 06/29/12 @ 12:00 PM] 10.12.2012 - Portland, OR @ Wonder Ballroom 10.13.2012 - Seattle, WA @ The Showbox Market [soDo?] 10.15.2012 - Salt Lake City, UT @ In the Venue 10.16.2012 - Denver, CO @ The Summit Music Hall - 6:30PM [On Sale: 06/29/12 @ 12:00 PM] 10.18.2012 - Lawrence, KS @ Granada - 8PM [On Sale: 06/29/12 @ 10:00 AM] 10.19.2012 - Minneapolis, MN @ Cabooze On The West Bank - (Doors: 7:00 pm / Show: 7:30 pm) [On Sale: 06/29/12 @ 12 PM EST] $20 . 16+ 10.20.2012 - Chicago, IL @ Vic Theatre 10.21.2012 - Pontiac, MI @ The Crofoot Ballroom - 6:30PM [On Sale: 06/29/12 @ 10:00 AM] 10.24.2012 - Cleveland, OH @ House of Blues Cleveland - 6:30PM [Presale: 06/27/12 @ 10:00 AM] 10.25.2012 - Buffalo, NY @ Town Ballroom 10.26.2012 - Syracuse, NY @ Westcott Theater
  12. Circa Survive - Violent Waves 01 - Birth Of The Economic Hit Man 02 - Sharp Practice 03 - Suitcase [06.25.2012] 04 - The Lottery 05 - My Only Friend 06 - Phantasmagoria 07 - Think Of Me When They Sound 08 - Brother Song 09 - Bird Sounds 10 - Blood From A Stone 11 - I'll Find A Way Release Date: August 28, 2012 Recorded: West Conshohocken, PA @ Studio 4 Recording Preproduction Dates [?] : 03.26.2012 - 04.15.2012 Recording Dates [?] : 04.16.2012 - 04.24.2012 Produced by: Circa Survive Recording Engineer: William Yip Mixing Engineer: Vince Ratti Mastering Engineer: ? Guest Vocals [suitcase]: Rachel Minton (Zolof the Rock and Roll Destroyer) Guest Vocals [The Lottery]: Geoff Rickly (Thursday)
  13. Anthony Green - Beautiful Things . (01.17.2012) 01 – If I Don't Sing 02 – Do It Right 03 – Moon Song 04 – Get Yours While You Can 05 – When I'm On Pills 06 – Can't Have It All At Once 07 – Big Mistake 08 – Love You No Matter What 09 – How It Goes 10 – Just To Feel Alive 11 – James' Song 12 – Blood Song 13 – Lullaby Anthony Green - Beautiful Things . B-Sides / Bonus Tracks. (01.17.2012) 14 - Right Outside 15 - Only Love 16 - Soul 4 My Soul 17 - Can't Be Satisfied 18 - Can't Be Satisfied (Demo) 19 - Can't Have It All At Once (Demo) 20 - Get Yours While You Can (Demo) 21 - Moon Song (Demo) Release Date: January 17, 2012 Recorded: Early January 2011 @ 'The Big House' in Avalon, NJ Produced by: Jason Cupp "Only Love" Produced by: Emile Haynie Backing Band: Keith Goodwin - Guitar & Various Instruments Dan Schwartz - Guitar & Various Instruments Tim Arnold - Drums, Percussion & Various Instruments Guest Musicians: Dave Davison (Maps & Atlases) - Guitar (Get Yours While You Can) Colin Frangicetto (Circa Survive) - Background Vocals (How It Goes) & (Soul 4 My Soul) Valerie Poxleitner (LIGHTS) - Background Vocals (Just To Feel Alive) Chino Moreno (Deftones) - Vocals (Right Outside) Nate Ruess (fun.) - Vocals (Only Love) Ida Maria (Ida Maria) - Vocals (Can't Be Satisfied)