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Found 10 results

  1. Anthony Green . 10.14.2013 . Instagram "Recording demos for this children’s album that I’m trying to put out around Christmas. What makes a song a “kids “song. Just becuase it’s for kids doesn’t mean it has to be dumb right?" sdupreebemis Ohmygosh im so glad you're finally doing this! anthonygreen666 @sdupreebemis me to! It's taken a long time to get everything moving but it's coming along great. Would love for you and max to contribute of your down! Can't wait for more perma jams! Send you guys some stuff soon. Trying to figure out the fictitious cartoon band that will release it under. stephanyg666 What ever happend to making a children's book ? anthonygreen666 @stephanyg666 the book is going to be release with the album as well as a kids clothing line designed by @meredithgreen katwoughter A great kids song is made up of lyrics an adult that is stuck listening to over and over that aren't lame and fun instrumentals for the actual kids anthonygreen666 @katwoughter I agree with you completely. The content is about youthful stuff but in general it's just like making any other record tigerbrettlee Is @goodoldkeith recording with you? Because that would be great news anthonygreen666 @tigerbrettlee yes @goodoldkeith is helping me. He is my guru brianfantana Mini xylophones anthonygreen666 @brianfantana yeah like very song is going to have them in it haha 2d anthonygreen666 My favorite song was "everything I do" by Bryan Adams for the Robin Hood theme song. I was obsessed. And Kokomo by the beach boys I put on concerts for my family just singing Kokomo over and over childrens album / childrens book / children's clothing ...x-mas
  2. ANTHONY GREEN (w/ Good Old War) [?] ‘Young Legs’ US Tour w/ Brick + Mortar 11.07.2013 - Pontiac, MI @ The Crofoot 11.08.2013 - Cleveland Heights, OH @ Grog Shop 11.09.2013 - Chicago, IL @ Bottom Lounge 11.10.2013 - Minneapolis, MN @ Triple Rock Social Club 'Young Legs' US Tour [/continued] w/ Dave Davison (Maps & Atlases) & Brick + Mortar 11.12.2013 - Denver, CO @ Bluebird Theater 11.13.2013 - Murray, UT @ Murray Theatre 11.15.2013 - Seattle, WA @ El Corazon 11.16.2013 - Portland, OR @ Hawthorne Theater 11.18.2013 - San Francisco, CA @ Great American Music Hall 11.19.2013 - San Luis Obispo, CA @ Downtown Brewing Co 11.21.2013 - Pomona, CA @ The Glass House 11.22.2013 - Los Angeles, CA @ El Rey Theatre 11.23.2013 - Phoenix, AZ @ The Crescent Ballroom 11.25.2013 - Dallas, TX @ Trees 11.26.2013 - Austin, TX @ Mohawk 11.27.2013 - Houston, TX @ Fitzgerald's Downstairs 'Young Legs' US Tour [/continued] w/ Dave Davison (Maps & Atlases) & Psychic Babble 11.29.2013 - Orlando, FL @ Beacham Theatre 11.30.2013 - Fort Lauderdale, FL @ Culture Room 12.01.2013 - Jacksonville, FL @ Jack Rabbits 12.03.2013 - Atlanta, GA @ The Loft 12.04.2013 - Nashville, TN @ Mercy Lounge 12.05.2013 - Columbus, OH @ A&R Music Bar 12.06.2013 - Pittsburgh, PA @ Mr. Small's Theatre 12.07.2013 - Baltimore, MD @ Ottobar 12.10.2013 - Rochester, NY @ Water Street Music Hall 12.11.2013 - Cambridge, MA @ The Sinclair 12.12.2013 - New Haven, CT @ Toad's Place 12.13.2013 - New York, NY @ Bowery Ballroom 12.14.2013 - Philadelphia, PA @ Union Transfer https://www.facebook...123966167614127
  3. “There Is Always Darkness” : In The Studio with Anthony Green July 1, 2013 by TJ Horansky http://www.altpress....h_anthony_green Circa Survive frontman Anthony Green can be a difficult person to get a hold of these days. Between recording his new solo album, Young Legs, touring with his “day job,” and taking his two young boys to the playground, it’s easy to understand why the highly revered lead singer can seem so elusive. AP was lucky enough to catch up with Green for a few minutes and pick his brain on his new solo record, fatherhood and how to avoid getting “flabby.” Interview: TJ Horansky Where are you calling from today? Right now I’m home. I took the day off from the studio today. We pretty much have one day left tomorrow, so today we had a little extra time. Today has just been a little bit of regrouping and going over some last minute things I want to do. I have two acoustic songs to do tomorrow, so I’ve been putting off committing to a structure for those songs. Right now, I’m in the process of trying to figure those out. Young Legs is your first solo album with producer Will Yip. What went in to your decision to record with him? Will did Violent Waves for Circa, and when we worked together, I noticed how he was with everybody. I really loved his energy. He always came off as the type of dude who was down to try anything and was open to new methods. He takes every band on an individual basis and does what he thinks is necessary. Beautiful Things and Avalon had been fairly written for years before I recorded them. This was the first time I went in with a couple of songs like that, but it was mostly ideas that I wanted to advance on and build in the studio. Will and I would get together and pick the ideas we wanted to jam on. We then spent a week just listening to the ideas. We would sit around a piano to figure out chord structures and vocals. It was building the song around just the piano and the vocals. We would then track it live for a few hours until we were done making our little various changes. When that was done, we would move on and start from scratch on the next song. Was that a more organic recording process than on Avalon and Beautiful Things? For those records, I had a pretty clear vision of how I wanted the songs to sound before I went into the studio. With some of the ideas on this new album though, I would only have a chorus idea or a couple notes, but nothing was committed. This is the most off-the-grid album I’ve recorded since I was a little kid. Since Circa and other stuff over the past 10 years, budgets got bigger and time got different in the studio, so we would be more prepared. I have been really dying to just go into the studio with a handful of ideas and work with them on the spot. Mainly, writing vocals and lyrics on the spot. I wanted to let it direct itself and capture it fresh in the studio. I’ve wanted to do that since I was a little kid. We had to do it when we were younger because of time constraint, but now I’m used to going into the studio for months at a time. Will is such an awesome producer, and I think he was pretty scared coming into this process because he didn’t know what it would be like. All the times before, I would get together in a house down the shore or some place that is not a studio to get comfortable and chill. We took this really seriously. We came in and utilized every minute we had together. We really just tapped in to what felt good. We would have those “Oh shit!” moments where [we] would both look at each other and know that it’s right. We started from scratch, and we kept our antennas up for those moments in all of the songs. You posted a photo on Instagram recently of some strings being recorded for the record. Were there any other different instruments or techniques used that you had never used before? Pretty much all of the songs on this record are centered around the piano and the vocals. I never really listened to piano music before until about a year ago. I started to become really interested in the sound of the piano. I was on tour with the the Dear Hunter in Buffalo, New York, and there was a little upright piano backstage. Casey [Crescenzo] and I just started to jam to some weird chords he was making up on the spot. I was riffing off what he was doing, and we started singing and writing right there. It sounded so good. Right then, I started thinking that I wanted this record to have that feeling. I think from that realization onward, I started to come up with more of a vision. I wanted the album to be more classical instrument-based, rather than big, distorted guitars and super-trippy delay. I wanted to use violins and violas and piano and lots of percussion. That sounds much more orchestral than typical acoustic rock. Yeah. I was sort of over the whole “big drums and giant guitars and screamy vocals” rock thing. You can still be as powerful and moving, if not more. The sound of, like, a timpani and violin playing something degenerative and creepy, with a passionate vocal part can be just as archaic and visceral as any typical rock band atmosphere. I’ve been doing that for a while, and I love it, but I just felt like going further toward the spectrum of musicality and really trying to tap into those powerful moments without the same old tricks. What sort of outlet does your solo stuff provide you, compared to Circa? Circa have always been very much a collaboration of everyone in the group. We don’t say things or do things without everybody agreeing. To an extent, that is really awesome and it’s worked for us. I love it. It can also be limiting. I always want to be writing. Circa have time off sometimes, and my solo project was pretty much born out of having time off from Circa and having songs that the band didn’t want to use. I was able to continue playing music and play these songs that still meant something to me, but maybe didn’t get represented by Circa. It’s gone from that to a place where I need it now. At the beginning, I did it because I had songs and I wanted to keep working. I wanted to try and see how it went. Now, I need to do this. I write songs specifically for an Anthony Green album, as opposed to a Circa album. It gives me a feeling that I can directly communicate from myself and not have it be something that four other guys have to be represented in as well. When you have something you can control, and can decide when to give up control, it’s really beneficial. When I take time off, I get boring. When I keep writing, I just write better stuff. That’s one thing I think needs to change with bands. Back in the day, when people bought records, you would write a record, tour on it for two years and then go write a new one. You should be writing all the time. People need to not be focused on writing just 12 songs for an album and putting it out. Tour all the time, write all the time and put music out all the time. It’s like a muscle—you need to keep at it and keep exercising it to stay strong. That is a perfect analogy; it literally is a muscle. If you stop writing, it gets weak and flabby. [Laughs.] It’s been amazing to see the happiness that marriage and the birth of your two boys has given you. Has that stability in your personal life affected you as an artist in the creative process? I was just talking to my wife about this the other day. Before we had children, a lot of things were different in our lives. You can do whatever you want when you don’t have kids. You can be out the door for a party in two minutes. When you have kids, their lives are dependent on you. You can’t do that stuff. I’ve always been the type of person that just works whenever I feel like it. I could lie around and be lazy. Now that I don’t have that option, I have to manage my time. Like today, I’m going to work from nine until three, and then I’m going to take the kids to the playground. In that time, from nine until three, because I budgeted it out, I am mega-focused. I enjoy the time. There are also all these things constantly happening that are inspiring to write about that I don’t think I noticed before. I have notebooks from when I was 25 and 26 that are outlines of things to write songs about. I was brainstorming things that I thought would be cool to write about. Now, I don’t have to think about that. It’s definitely changed the way I manage my time, which in turn changes the way that I write. There is always darkness. Sometimes it’s darker than others, but you don’t always have to dwell in that. I’m battling the same demons that everybody is. Being happy and having all this amazing shit happen in my life has made it a lot easier for me to focus on making music and doing new things. The old feeling of “Oh, I’m going through this terrible break up right now, but it’s fine because it will be great for the songs” is fine, but how many fucking songs can you write about being pissed off or being lonely or being sad? You can’t do that forever. You need a spectrum, an ebb and flow of emotions. It seems like that makes better records. Yeah! And I think it makes better people. For me, this is my job and I love doing it, but writing an album and putting it out is not like writing a status update and posting it. When you do this for a living, you have this incredible opportunity to express yourself in one of the most primal and purest ways in existence. You can share that with people and get feedback from it. It’s this incredible gift, and I feel so lucky to be able to do it. Every day I worked on the record, I thought if everybody had this in their lives and had a way to build something beautiful and meaningful and possibly dark or hopeful, whatever represents them, people would be way less stressed out. They would be clear. There is so much stuff in my life that I understand from writing about it. Listening to other people and being inspired by it; it’s just this wonderful cycle. For a long time when I was really conflicted and only drawing from that, I felt like I was just constantly kicking myself in the foot. It’s painful to write about that stuff. When I sing songs about painful memories, I’m reliving those memories. I see guys on stage all the time that go up and just do their thing. You can tell there’s a lack of heart and you don’t connect with it as much. When I’m in that moment, I’m feeling all that stuff 100%. It hurts just as much as the moment I wrote it. It’s elating, too. It’s intoxicating. It makes you feel good at the same exact time, which is weird and confusing. When I was younger and had all this time to fuck around with, I don’t think I realized how lucky I was. This record was very much a therapeutic thing for me. I got to go in with a song that had nothing to it and write it in the studio that day. It’s the epitome of organic. I know people throw that word around a lot, like what really makes something “organic?” There are songs on the radio that you would think are the most organic things ever that were written by dudes in suits trying to figure out how [they were going to sell the song.]ß You seem to be at a point where you are okay writing about these painful things, but it wasn’t always that way. There is a feeling of isolation in some of your older songs from writing about painful experiences. “Your Friends Are Gone” from 2007’s On Letting Go specifically comes to mind. It’s weird because when I sing “Your Friends Are Gone,”I think about something completely different then what that song was probably intended for. When I wrote the song, I was processing something else. Songs grow. Their meaning and their words change to you over time. Going into the studio with a pretty idea that you’ve been humming along to for a while, and letting it just happen, it was such an exciting and new feeling for me. I can remember having that as a kid. It wasn’t that I was lazy, I just didn’t do it. I was just waiting until I had to commit to it before I would. I don’t know what these songs will represent to me in 10 years. A lot of these songs were written for specific people. None of them really have names, but there is a song I wrote for my mother-in-law. There is a song I wrote for Colin [Frangicetto, Circa Survive guitarist]. There is a song I wrote for [my wife] Meredith. I wrote a lot of these songs as notes to people. It’s often easier to communicate a feeling or sentiment through a song than try to describe that feeling to them. Yeah, absolutely! You know how when you’re talking to your mom and you say a specific word in a specific way, it gives a completely different connotation? When you write a song, you really play with words and change their meaning. The feeling of the song can be completely affected by just the melody, and the words can be almost opposite. You can do anything with communicating through music. You don’t even need words. Everything gets more colorful; everything takes on more life and more meaning. It’s always been easier for me to say things to people in a song. You can tell somebody to get the fuck over something in a song in a way that is still pretty and hopeful, as opposed to just saying “get the fuck over it,” which can be cold. Do you have any solo tour plans coming up? Yeah, I’m hoping to put out the album and go on tour shortly after Uproar. I want to do a full U.S. tour for as long as I can, and then try to get overseas. I want to try to play some small shows in the U.K. or Europe or Australia, which I’ve never done with my solo stuff. The Rockstar Uproar Festival with Alice In Chains, Jane’s Addiction and Coheed And Cambria starts in August. Congratulations on that. This is the first tour Circa have done in three or four years where people are congratulating us. [Laughs.]My aunts and uncles, who don’t even pay attention to our band, are like, “Oh wow, you’re going out with Alice In Chains, that’s great.” When the old folks start congratulating you, that’s how you know it’s real. [Laughs.]That’s right.
  4. [interview] Guitar Questions with Brendan Ekstrom of Circa Survive Posted on May 1, 2013 . by Steve Posted in Blog, Interviews http://livication.com/blog/guitar-questions-brendan-ekstrom-circa-survive Circa Survive released their fourth full-length studio album last year, and the guys have been busy on several different national and international tours ever since. We got the chance to sit down with Anthony Green during their last Orlando stop in September. It wasn’t long before they came back to Central Florida with Minus The Bear, on another tour that stopped through Tampa’s Ritz Ybor. This time we got to talk to Brendan Ekstrom, one of the low key guitar aficionados that provide Circa Survive with their signature sound. When did you first start playing guitar? I was in high school. I think I was 16 or 17 when I got my first guitar, and I learned a couple Nirvana riffs. High school was a really weird time for me, so I didn’t really dedicate myself to it at the time, but I was definitely interested. Then I think around 20 years old, maybe 21, I started to really kind of jam with some friends and do some more. Everything was like, punk rock, though. So I never had that sweet background where I went and learned all the Metallica records and knew how to shred or anything, I was just always sort of like, half-assing it. I wanted to do it, but was never great at it. Just kind of played around? Yeah, just kind of noodling, trying to make fun shapes with my fingers and stuff like that. Cool, that’s probably how you came up with such a signature sound. It’s possible. What do you remember about your first guitar? It’s called a Martin Stinger, and I don’t think it’s actually affiliated with Martin guitars at all, but it’s this red guitar that had a Grateful Dead “Paint Your Face” sticker on it that looked like it was just melting off the side of the guitar. It was a total piece of shit. I gave it to my nephew. My nephew was born — Not my nephew…my cousin’s son was born the same birthday as me, April 6th. So after I got a nicer guitar I gave him my guitar. He’s taking care of it somewhere. What do you like about your guitars now? Well, I started playing Melancon Guitars…I guess about 8 years ago, like right around when Circa Survive started, and they’re very lightweight and just feel really nice to me, I kind of got addicted to them. There’s a couple guitars…I never really did Fender or Gibson, never really did like, the sort of mainstream things. Which is weird ’cause, they obviously sound amazing, that’s why everybody uses them, but I don’t know. Girard has always been really good to me – that’s the guy that builds the guitars and helps me out. There’s a couple other kind of boutique guitars I plan on trying out soon but haven’t really done it yet. I’ve always thought that your guitar – the main one – the natural wood one, looks really beautiful. I’m just a little bit envious. The first one that I ever bought, it was like one-piece ash, all-natural looking, and a one-piece neck and fretboard, like it was all one-piece rosewood with no fret markers on it, and it was the most beautiful guitar I have ever seen in my life. It had like a built-in MIDI pickup and like, custom pickups and it was perfect condition, and I was just like “I can’t keep this. I beat the shit out of everything I own. This is too nice for me to own.” So I ended up trading it for some gear and another Melancon guitar, and now I’m like – I would fucking kill to have this guitar back. It was so gorgeous, I want it so bad. Yeah, but if you love something you’ve got to let it free, I guess…right? I suppose. Unless it’s a really nice guitar. Maybe it’ll come back to me. Maybe, just maybe. So were there any musicians or influences that you think shaped your guitar playing early on? Early on…like I said when I first started playing it was sort of the grunge era for me, I was 16 when, you know, all that shit was happening. And I learned by playing Silverchair’s first record, and The Toadies’ first record, and Clutch. Like, Clutch was really influential because the guitar player does a lot of sort of bluesy patterns, and like, sort of groove-oriented patterns around the drums, so I think that that really stuck with me a lot when I first started playing. But as far as just listening to stuff, like, Pink Floyd and Sunny Day Real Estate and Tool have always been probably like the most influential. And Led Zeppelin, stuff like that. Is there any one piece of gear that you really love, that you feel shapes or defines your sound more than any other piece of gear? I guess I really don’t know. I mean… They’ve all got their purposes, huh? It’s hard to say. I had this pedal for a long time that was in my chain, but to say that it shaped my sound would be like…insane, considering my amp and my guitar are probably the two biggest factors in what I really sound like. But I had this Durham Electronics Sex Drive pedal that… I’d put it in front of any amp and it would just sound like, sparkly and brighter and more alive in a way, and it died recently, and I bought a new one and it just doesn’t sound the same and I’m so bummed about it. Weird. Yeah, so… Maybe it was like a different version or something? Yeah, it’s like a newer pedal in a smaller box, and of course they say it sounds the same, but I don’t think any two pedals are going to sound exactly the same, you know what I mean? Yeah, I mean, down to individual wiring and stuff, I guess. You know? Yeah. But recently like, I’ve been playing a Strymon Timeline pedal, which is a delay pedal, and it’s been one of the most integral things because it’s easy for me to program multiple delay settings into that without having a rack unit or anything. So that’s really helped my live show a lot, and it’s really diverse. You can do a lot with it. And also, I’ve just been into like, using a lot of weird fuzz along with this bass octave pedal, that just…like on “Birth Of The Economic Hitman” on the new record, there’s a breakdown at the end of that song where I use a Keeley fuzz pedal with a low octave and it just sounds like it’s going to rip your head off. I really love that sound. Yeah, sounds pretty awesome. It seems like a lot of people really are inspired by how you guys use effects, and especially delays. Like, the delays you guys use create a lot of cool atmospheres and ambiences sometimes. I mean, it’s mostly just noodling. People are always like “How’d you come up with that?” and I’m like “Well first of all, don’t know what you’re doing. Go plug something in and start turning the knobs, and you’ll get somewhere. That’s another thing people, I think, are amazed at. Like, the way you and Colin, you don’t really have a set rhythm or lead guitarist. You guys just kinda – it almost like you’re just noodling but the noodling works and intertwines so well. I think we realized after the first two records, we were like, “Yo, like, every once in a while I’m going to play rhythm so you’re going to hear how cool that lead is, or that you’re doing there.” So over the years we’ve tried to do that a little bit more and just let some of the melodies shine out, because we had so many counter-melodies on the first two records, and we didn’t want that to die all together, but at the same time wanted to let some of them stand out a little bit more. Do you have any tips before we go for new guitarists that are starting out today that maybe are inspired by what you guys are doing in Circa Survive? I mean, for musicians in general I just feel like it’s important to take chances, you know? If some guys are touring in a band and they need somebody to fill in on guitar, even if you don’t love that, if that’s an opportunity for you to get out there and meet some people, then you’ve gotta take chances, because this whole business is so luck-related, and I think it’s just about being good to people and taking chances and working. And I think Circa was all about that from the beginning, like, we wanted to get together with other people that we knew were going to work and take this seriously, and as much as, you know, we have fun and we’re silly, we know this is really all we have outside of family, and it supports our family, so, you know. Right. You guys do amazing at it and I think you’ve got a real dedicated crowd, and we all love you guys, and keep doing your thing, man. I appreciate it, man. Thanks a lot. Great talking to you.
  5. Circa Survive On Going Independent & Backstage Rituals Hype Malaysia Interview http://hype.my/2013/...kstage-rituals/ May 02, 2013 Having recently gone independent for their fourth album, “Violent Waves”, American rock band Circa Survive definitely has some stories to tell. Fortunately, they were in town recently for Livescape Asia’s Rockawayfest Showcase held at Bentley Music Auditorium. We were lucky enough to have had the opportunity to interview Circa Survive frontman Anthony Green. Let’s hear it from the man himself! What were some of the challenges that Circa Survive faced after deciding to go independent? “It’s like any small business. You wanna keep a small overhead so that you’ll have a better chance at breaking even and eventually, making a profit. When you’re dealing with a major label, all they’re concerned about is making profit. Yet, they spend so much money – in excess, on your recording. When they’re bankrolling on your recording, they kinda feel like they can come in and whether or not you let them have a say, you’d kinda feel creatively obligated to them because they’re financially backing you. Whereas when you’re doing it yourself and you go into your friend’s studio and you’re managing the budget for your own album for..you know, very little money, and you can still make it sound like having your vision come true without having to spend the money that a major label would spend, you won’t put all that pressure on people to buy your record.” How did that work in Circa Survive’s advantage then, going independent? “We budget this album so that we didn’t have to go out and sell 100,000 copies to make 1,000,000 dollars back for the recording cost. Recording costs very little. And in my opinion, this is one of the best recordings that the band has ever had. So, we sacrificed zero creative, zero production value, and ended up with a better product and we were able to sell very little but still make a profit. Which is something we’ve never done!” Do you know if your next album is going to be better than this one or do you think that you could make it better than this one? “I think that in order to be a true artiste, you have to be in like..a perpetual state of arrival. You can’t ever think that you’ve gotten anywhere; you can’t ever think that this is the best album. This is not – it’s just the latest album. Regardless of what people say or critics say..you can’t ever think that you’ve gotten anywhere.” Do you still get nervous when you get on stage? What are some of the rituals that you do before you get on stage? “Every night! I tend to get very quiet for maybe an hour or two hours before we play. I’m usually just not engaging with anybody – I kinda just like to sit. Sometimes, I visualize myself already on stage and already enjoying it. You know, like I’m visualizing that it’s already happening, already going well, and I’m already feeling great about it. And that helps me put my anxiety or my nerves at rest. I also like to stare at people. I pick one or two people out in the crowd and they’ll be the only people..” What? How do your fans react when you do that? “They’re very weirded out by it! Very. It’s awkward – but for them, not me. I’d feel like I’m in control and they’re just like..what is he doing, why is he staring at me? (laughs)” Were you at their Rockawayfest Showcase gig? Did you catch Anthony Green staring at you? Were you “weirded out”? Drop us your comments if you were there! Special thanks to our awesome friends from Livescape Asia for making this interview happen, and much love to Anthony for taking time off to speak to us.
  6. Interview : Anthony Green of Circa Survive http://sightofsoundmagazine.com/2013/03/22/interview-anthony-green-of-circa-survive/ March 22, 2013 By Matt Christine After a short walk from the box office, where I had just picked up my photo pass for the night’s show, I found my way to a back parking lot behind the Sherman Theater to see Circa Survive‘s tour bus. I was scheduled to interview Anthony Green at 6:30PM that day, but both he and I were ready to go early so after a text to the tour manager we decided we would just go ahead and knock out earlier. As I climbed onto the fully packed bus I was greeted by Anthony and we headed to the back of the bus where we could sit down and get this interview started. As I set up my gear I noticed just how dark it was and we made the decision to just record the audio of the interview, luckily I had Henry Chung from Neostar Promotions along with me for the interview because he was able to snap a few photos using my camera to run along with the transcript and audio. I clicked the record button and Anthony and I got the interview started off. Matt Christine : Thank you for sitting down with Sight of Sound Magazine today Anthony. Anthony Green : No problem. Matt : Welcome home to a certain extent. Anthony : Sort of, yeah. Matt : Yeah, close enough. Have you guys ever played at the Sherman Theater before? Anthony : We played here once like a year or two ago with Taking Back Sunday, right when they got like all of the original members back in the band. It was really cool. Matt : That sounds awesome, well let’s talk about “Violent Waves.” It was self-released. Which I know was a really big deal for you as a band and the music industry as a whole reacted positively to that decision. Do you foresee the band continuing down this path in the future? Anthony : Yeah, there is no reason why would ever stray from that now. Unless we found a really perfect partner and the deal was really good you know? I can’t imagine why would release a record any other way. Matt : Well much respect to you guys for self-releasing that album, I know there is a certain degree of professionalism that comes along with doing that and it is a lot different than what most bands are doing. Anthony : Yeah, people don’t relieze how much is involved in releasing a record there is a lot - Da-da? - Heyy buddy, wanna come say hi? -Yeah - There is a lot that is involved in promoting and releasing an album and that is hard to do when you are also writing and recording it all. I think it would be difficult for a band that hasn’t been touring for 10 years and had a pretty dedicated and awesome following. Matt : Yeah, I would imagine that would help. So how does it feel to see a lot of the bands within the “local” scene grow and gain as much attention as it has? Bands like Title Fight and even Motionless In White. Anthony : It is always awesome seeing young bands from the area, you know like Balance and Composure and Title Fight, just killing it like they are doing. They make such good music, I love Title Fight and Balance and Composure so much and it is so awesome to see other people catching on. Matt : Yeah, Pennsylvania is really becoming a hot market for new music. Anthony : You know I feel there has always been a great like hardcore and punk rock scene here but it is cool to see it busting through. Matt : It is definetly making it’s impression on the world now. So a few years ago you put out the “Appendages – EP” on vinyl for Record Store Day. Will you guys be doing anything special for Record Store Day this year? Anthony : I don’t think we have anything - Daddy?! - I’m doing an interview buddy, you wanna come say hi? - I think we are just planning on releasing new music and we just didn’t have it ready in time for Record Store Day. Matt : It happens, well you guys just wrapped up a headlining tour in the fall, you did an acoustic tour with Geof and now you’re at the half-way point of a co-headlining tour with Minus the Bear. Whats in-store for summer? Anthony : Well we are going to Australia and Asia with Coheed and Cambria. We are going to do Hawaii, we are going to write and I’m going to do my next solo record, so a lot of stuff. Always busy. Matt : With nearly a decade’s worth of music, what would be your favorite song to perform live? Anthony : You can’t really pick favorites because there is so much and there is not a song that we ever have that I wouldn’t want to play that wouldn’t make me feel good to play. We have been closing the nights with “Get Out” and that as the last song to play kind of feels good, it is a great end to the set. Matt : I saw on Facebook that people were voting for the setlist, is that something you do often? Anthony : We actually just started that on this tour because the last tour was the first time we ever changed the set every night. Now that we have so much more material and so much to choose from it helps us sometimes to hear that a bunch of people want to hear “All your friends are gone” , so we do it. Matt : That is great, I haven’t seen many bands have that pre-show interaction with their fans before. Anthony : Technology is amazing if you use the right way. We are able to stay in contact and in touch with the main core of our fans. Those are the people who will come out and buy the record right when it comes or buy tickets right away, they just really love the band. Matt : So does anybody have day jobs when at home and not touring? Anthony : No, not that I know of. This is it. We’ve been making a living doing this for awhile now but we would probably be making more money working full time at 7/11. Its not about making a shitload of money as much as it is just doing what you love. Matt : What have you guys been listening to these days?c Anthony : Well I love that Title Fight record, they are really good. I love Balance and Composure, listen to that record a whole lot, the new Deftones gets put on almost every I time I put my headphones on before bed. I love that album. Matt : They were just here at the Sherman Theater actually. Anthony : Yeah, the lady out front was telling us about that. Matt : A few years ago, there was a piece in Alternative Press where you interviewed Perry Farrell from Jane’s Addiction. Have you two kept in touch since then? Anthony : No it was kind of a one off, it was cool though. There is a possibility that Circa might do something with them in the future. I don’t know if he would even remember of me, it would have been sweet if we were like best buds after that though. Matt : The deluxe version of last year’s ‘Beautiful Things‘ was one of the rare bonus editions in that there were some awesome songs left off of the regular edition. How did you get Chino from the Deftones, Nate from FUN., Lights and Ida Maria to appear on it? Anthony : We really just sent the songs out to the people we wanted to be on them and those were the people that responded. I sent Chino that song cause I wanted him to do it and luckily at the last minute he got back and was like I got this track and I like it. I thought he hadn’t gotten it or didn’t want to do it. Matt : Was there anyone who didn’t get back to you? Anthony : There was, John from Portugal the Man. We wanted him to be on “Get Yours While you Can” but he was too busy, so he better do it next time. Matt : Well that is all that I have for you, should be a good show tonight. Anthony : Dude it is going to be a great tonight, I love this town. Anytime we play around this area it is always fun. Matt : No doubt, well thanks again for sitting down with Sight of Sound Magazine today, I’ll see you later on from the photo pit for the first three songs. Anthony : No problem brother. Below is the original audio recording from the interview, there are a few “off topic” moments where Anthony, Henry and I had discussions during the interview as well as a few more interruptions and distractions that I edited out just for ease of reading. Don’t forget to check that out our photo and review coverage of Circa Survive‘s return to Pennsylvania.
  7. Rockstar Uproar Festival Tour w/ Alice In Chains, Jane’s Addiction, Coheed and Cambria, Walking Papers, Danko Jones, Middle Class Rut, New Politics, Chuck Shaffer Picture Show & one local battle of the bands winner 08.09.2013 - Scranton, PA @ Toyota Pavilion at Montage Mountain 08.10.2013 - Hartford, CT @ The Comcast Theatre 08.11.2013 - Darien Center, NY @ Darien Lake Performing Arts Center 08.13.2013 - Saratoga Springs, NY @ Saratoga Performing Arts Center 08.14.2013 - Mansfield, MA @ Comcast Center 08.16.2013 - Bristow, VA @ Jiffy Lube Live 08.17.2013 - Holmdel, NJ @ PNC Bank Arts Center 08.18.2013 - Wantagh, NY @ Nikon at Jones Beach Theater 08.20.2013 - Toronto, ON @ Molson Canadian Amphitheatre 08.22.2013 - Tinley Park, IL @ First Midwest Bank Amphitheatre 08.23.2013 - Noblesville, IN @ Klipsch Music Center 08.24.2013 - Clarkston, MI @ DTE Energy Music Theater 08.27.2013 - Oklahoma City, OK @ Zoo Amphitheater 08.28.2013 - Dallas, TX @ Gexa Energy Pavilion 08.29.2013 - The Woodlands, TX @ Cynthia Woods Mitchell Pavilion 08.31.2013 - Albuquerque, NM @ Isleta Amphitheatre 09.01.2013 - Denver, CO @ Fiddler’s Green Amphitheatre 09.02.2013 - Salt Lake City, UT @ USANA Amphitheatre 09.05.2013 - Nampa, ID @ Idaho Center Amphitheatre 09.08.2013 - Ridgefield, WA @ Sleep Country Amphitheater 09.11.2013 - San Francisco, CA @ Shoreline Amphitheatre 09.13.2013 - Phoenix, AZ @ Desert Sky Pavilion 09.14.2013 - Chula Vista, CA @ Sleep Train Amphitheatre 09.15.2013 - Irvine, CA @ Verizon Wireless Amphitheater
  8. Interview: Brandan Ekstrom – Circa Survive http://cooltry.com.au/interview-brandan-ekstrom-circa-survive/ Friday, April 5, 2013 Circa Survive are an American rock Band from Doylestown, a suburb of Philadelphia, Pennsylvania. Formed in 2004 their lineup has remained the same since, consisting of members Anthony Green (Vocals), Brendan Ekstrom and Colin Frangicetto (Guitars), Nick Beard (Bass) and Stephen Clifford (Drums). After signing with Equal Vision Records almost immediately after their formation, they made the move to Atlantic Records in 2009. Once their contract with Atlantic was completed, the band decided to become a completely independent band for the production and release of their fourth album ‘Violent Waves’. Their sound incorporates genres such as indie/alternate, progressive, post-hardcore and psychedelic. With Four Albums, two EPs, a B-sides and most recently a benefit EP for victims of Hurricane Sandy, they are about to embark on their third visit to Australia this month with Coheed And Cambria. As a massive Circa fan, I was recently lucky enough to chat to Brendan about their upcoming tour and new found independence: I’m talking to Brendan Ekstrom, guitarist of Circa Survive. I’ve heard you described as the lead guitarist, would you agree with that or is the lead role pretty much shared by you and Colin? I think that it’s always going to go back and forth, you know, I always love when he does play leads and I appreciate them a lot. It seems like the first couple of albums we made both of us were playing leads throughout all of the songs, and then we decided to chill back a little bit and let the other persons melodies come though, and both of us discovered rhythms a little bit more over the past couple of records so I tend to think that we both play lead and rhythm when it calls for it. So you’re touring In April with Coheed And Cambria, a little over a year since your last visit to Australia and a much quicker turn around than after your 2007 shows here. What drove the decision to return a lot sooner this time? Well I think it just worked out as far as the ability to get over there, you know, working out with Coheed, like that they were going over at the same time and everything like that. We definitely have a great time over there and we know that it’s important to get back to places as soon as possible if you really want to try and keep people interested and try and build something so, yeah I mean last time we were over there I didn’t want to leave actually (laughter) I just had so much fun in Australia, so I think we all can’t wait to get back – except for the flight part, if we could figure out how to not have the flight we’d be happy about that. (laughter) I can imagine it’s a pretty exhausting flight? Yeah, but yeah, no we’re definitely looking forward to it and to hopefully be able to build a little bit more of a following over there. So did you guys feel you had built on your following form your first visit last time you were here? Because I did notice you had quite big crowds at a few of the Soundwave shows. Yeah I definitely think we could notice it last time, so you know, you could tell if you do the work to get over there and you know, keep reaching out to people to come out that they’re going to support you. So I think with us putting out this record ourselves it’s definitely interesting and different to tour overseas, so it’s all like sort of a learning curve figuring out where the money is coming from now that we don’t have tour support from a label so, yeah it’s all sort of us just figuring it out right now but it’s exciting. That’s awesome, so would this tour be classified as your Violent Waves tour for Australia? (laughter) Yeah I suppose it would be because I’m not sure if we’ll make it back on this record again. Yeah, so as you’ve just said With Violent Waves you guys made the decision to become a completely independent band, moving away from Atlantic records. What lead to this decision? And do you see yourselves remaining an independent band in the foreseeable future? Well, I feel like a lot of things led to it. One of those things was that we had always sort of discussed what it would be like to put something out on our own, to sort of be totally in control of that aspect of our band. We’ve always been very business oriented you know, outside of us being silly half the time (laughter). From the very beginning we wanted this to be a long term thing and we wanted to know that we could take it as far as we could and so you know, being fully in control of the business was always intriguing to us. So, it sort of came up as an opportunity to leave the label and (laughing) still take money from the label (laughter) that’s the easiest way I can put that and so, we just felt like it was a good opportunity for us to do it. I don’t think we would have been comfortable doing it too much earlier in our career like, all the stops along the way with Equal Vision Records, with Atlantic Records, really helped to build our band in a positive way and we learned a lot – with working with a major label and an independent label – we learned a lot of things from both of them and I think you know, having learned all that, that we’re much more prepared to do this by ourselves and I really don’t see us turning back from this at this point, it just doesn’t seem necessary for us, in our career, to be with a label. It doesn’t really seem necessary the way labels are going either (laughter) so we’re pretty happy with the way things turned out. There were definitely some speed bumps but again, you know, this whole thing is just a learning experience. How did you find the recording process to be different for Violent Waves – with regards to your previous albums – and being pretty much in charge of everything now that you are independent? Well it was much closer to home for one thing, you know, Anthony was able to go home and see his family at the end of the day and I think that there was a bit more just general… like comfortability [sic] you know, just that everybody felt more comfortable. We went in with a guy that we’d known for quite a while who was helping record the vocals, and a dude that we had just kind of met who was recording the music and both of them were just super down to earth. It was different for us to not have a producer because it seems like a lot more of the pressure was on us to make the call like – “Oh okay, how’s that delay going to sound in the final mix? Is it going to be too much delay? Or are you going to lose the way your instrument sounds? Or is it going to work?” – So, playing that role of the producer, that responsibility fell on us and it just seemed like the pressure shifted a little bit more like, we didn’t have other people to sort of help us call the shots and… I think overall it was just a really good experience and I can’t wait to do it like that again honestly. I think it worked out really well for you guys, I would say it’s your best album to date. I appreciate that, thank you. Yeah I mean, I think we went into it thinking – “We want this to be raw, we want it to sound way more raw and like Circa. We don’t want to go in with someone and change the songs around too much we just want to see what it’s like if we just write some songs, go in, and fuckin’ lay them down” – and, I feel like it came out a lot more with that emotion in it. Yeah definitely, so now that you are an independent band, can fans expect more frequent releases like EPs or stand alone singles? Or will you still be more like, album orientated? Well there’s a lot of discussion within the band about just trying different things and putting singles out more often and stuff like that, maybe even just recording something at the [creek] house and just having a buddy mix it or something like that. And at the same time it all revolves around us being able to tour and being able to make enough money to go home and record some songs at that time. So I think it’s all just sort of a timing issue, but this will be the first time since we made the first independent full length that we’ll be able to try some new things – and I think everybody wants us to try some new things – so we’ll see. You guys had Creature Club, which fans could become members of and receive previously unreleased material such as demos, videos of the band etc. and you decided to put that on hold for now. Was that a result of becoming independent and having to take on more responsibilities as a band? Yeah it was, we definitely didn’t want to just continue the Creature Club and have people feel short-changed, we just had a lot on our plate you know, putting out the record ourselves and a lot of different things we happening with us… figuring out who was going to press it, who was going to promote it and all those things. Also, with Atlantic Records, we had somebody who was sort of in charge of like, running the fan club and we lost that. So it was just sort of too much to handle while we were trying to record our record and then preparing for a tour and… I think the most important thing from that was just meeting a lot of our biggest supporters and now, when we go to shows, we can see them and recognize them. We go say “hi” to them and you know, still thank them and everything so I don’t think there’s much more of a gap between us except for we don’t have to worry about trying to keep up with sending them stuff here and there and making sure they feel like the money they paid to join the fan club was worth it, you know? Yeah, so, on that subject, as a band you seem to enjoy being quite interactive with your fans with live chats on youtube and through sites such as twitter and tumblr. How important is that interaction for you guys as a band? I think it was right around the time that we were starting to get together as a band that social media and the internet became extremely important in promoting, and promoting the band and staying in communication with your fans and we embraced it from the very beginning and I think that communication with fans has led people to just feel like they’re part of what we’re doing like, the amount of people that come up and just say ‘thank you for being so down to earth’ like last night… This kid was just saying so many bands like, you know, don’t talk to their fans and I was like “Dude, all of this ends. All of this comes to an end at some point and I’m just going to be another guy walking down the street” and like, it’d be silly to think that we’re anything more right now. So I think that it’s very important that we stay in touch with our fans like that and communicate, and I think it’s just really positive overall. So as an independent band now, what are your thoughts on Spotify and other streaming services like that? Well, Spotify… It’s just hard not to be conflicted about Spotify (laughter) because on one hand it’s like “man I wish I grew up with Spotify”… As a music listener and a person who enjoys music it is the most convenient thing that’s ever happened and… as a person who’s trying to make a living off it is just… it’s not helping things as far as I can tell. I mean It’s debatable too, that’s kind of the problem with all of these things is that all of these new things that are happening, no one really knows if it’s hurting or if it’s helping because on one hand someone can just be like “Circa Survive, I’ve heard that name a bunch but never really checked them out” and then they can just open up Spotify and check us out and maybe they hate it and maybe they like it, but if they really like it and they start coming out to our shows then that’s great and that’s a good thing and that might help wave the fact that you know… we’re making ten cents off of Spotify a year… It’s really hard to tell. So my last question was how do you find Australian crowds respond to your music compared to other countries? And what can fans expect performance wise from these upcoming shows? Well it’s kind of hard to say because some of it has been festivals, and festivals are very different than playing you know, smaller shows but we’ve done a couple of headlining shows over there and the crowds have been great you know, kids are having a great time and coming up and talking to us after the shows so it doesn’t really feel much different than playing back at home except for we don’t really get to put on our full show over there production wise and hopefully we’ll be able to bring some more element of that over there in the near future. I think that would definitely be fun for the fans over there. Awesome! Well thank you very much for your time and I look forward to seeing your shows when you play over here. Awesome man, well thanks a lot, I appreciate it. interviewed and written by Rory Fennell
  9. Circa Survive . Spring 2013 Tour Waves Overhead Tour w/ Minus The Bear & Now, Now 03.06.2013 - Columbus, OH @ Newport Music Hall 03.07.2013 - Bloomington, IL @ Castle Theatre 03.08.2013 - Covington, KY @ Madison Theatre Idobi Meltdown Festival 2013 w/ Minus The Bear, I Am The Avalanche, Kevin Devine, Vinnie Caruana, The Front Bottoms, Now, Now, Joji, Diamond Youth, Coasta, Laura Stevenson, Markets & Dwellers, The Soviet & Bricks + Mortar 03.09.2013 - Fredericksburg, VA @ Grace Church of Fredericksburg *RESCHEDULED [Venue Change] 03.09.2013 - Silver Spring, MD @ The Fillmore Waves Overhead Tour w/ Minus The Bear & Now, Now [/continued] 03.11.2013 - Louisville, KY @ Headliners Music Hall 03.12.2013 - Royal Oak, MI @ Royal Oak Music Theatre 03.13.2013 - Burlington, VT @ Higher Ground *RESCHEDULED [Date Change] 03.14.2013 - Burlington, VT @ Higher Ground 03.15.2013 - Providence, RI @ Lupo’s Heartbreak Hotel 03.16.2013 - Portland, ME @ State Theatre 03.17.2013 - Poughkeepsie, NY @ The Chance 03.19.2013 - Huntington, NY @ The Paramount 03.20.2013 - Stroudsburg, PA @ Sherman Theatre 03.22.2013 - Charlotte, NC @ The Fillmore 03.23.2013 - Raleigh, NC @ Lincoln Theatre 03.24.2013 - Charleston, SC @ Music Farm 03.25.2013 - Jacksonville Beach, FL @ Freebird Live 03.27.2013 - Tampa, FL @ The Ritz Ybor 03.28.2013 - Athens, GA @ Georgia Theatre 03.29.2013 - Memphis, TN @ New Daisy Theatre 03.30.2013 - Oklahoma City, OK @ Diamond Ballroom
  10. Anthony Green - Young Legs 01 - Breaker 02 - Young Legs 03 - 100 Steps 04 - Too Little, Too Late 05 - When You Sang To Me 06 - Anytime 07 - I'll Miss You 08 - Stolen 09 - Conversation Piece 10 - Shine 11 - You Have To Believe It Will Happen Anthony Green - Young Legs (Bonus Tracks) 12 - When You Sang To Me (Demo) 13 - I'll Miss You (Demo) 14 - You Have To Believe It Will Happen (Demo) 15 - Young Legs (Demo) 16 - Stolen (Demo) Recorded: May-June 2013 Studio:Conshohocken, PA @ Studio 4 Produced by: Will Yip, Anthony Green & Good Old War Record Label: Moshtradamus Records Release Date: 11.12.2013
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