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  1. http://offtheboardcomp.com/ PRODUCER WILL YIP TO RELEASE COMPILATION FEATURING TITLE FIGHT, CIRCA SURVIVE, AND MANY OTHERS PROCEEDS WILL BE USED AS PARTIAL PAYMENT ON STUDIO 4 OFF THE BOARD: A STUDIO 4 FAMILY COMPILATION AVAILABLE 10/8 Multi-genre producer and engineer WILL YIP will be releasing Off The Board: A Studio 4 Family Compilation on October 8th, 2013 featuring un-released and EXCLUSIVE songs from a slew of bands all recorded and mixed at Studio 4 including: Title Fight, Circa Survive, Balance and Composure, Man Overboard, Citizen, Turnover, Daylight, Koji, Tigers Jaw, Polar Bear Club, Dead End Path, Sainthood Reps, Mongoloids, None More Black, Light Years, Pity Sex, and Anthony Green. “This comp represents everything that I’ve done in the past ten years of my life,” explains Yip. Proceeds are being used for a down payment toward his partnership in the legendary Studio 4 located in Conshohocken, PA. “I want to give the punk, hardcore, and alternative community of awesome bands a home,” he adds. By entering into a partnership with studio owner and Grammy Award-winning producer Phil Nicolo (Bob Dylan, Bon Jovi, The Fugees, Sting) it enables Yip to work with the bands that he loves, no matter the budget. “The only thing that ever mattered was how much I love the music,” describes Yip. “I always want to produce bands that I like, but most of the time those budgets aren’t close to prior Studio 4 budgets. This studio always produced big records in a big studio environment, an experience that most bands in our indie scene historically never had. By owning the studio, I’ll be able to accept nearly any budget instead of worrying about having to pay a large rental overhead. I have the once in a lifetime opportunity to not only continue the Studio 4 legacy, but to also make this classic studio a home to our community of the best bands in the world.” Unlike any other compilation,Off The Board: A Studio 4 Family Compilation was recorded, mixed, and mastered at the same studio by one person - Will Yip which gives it the feel of an album due to the consistency of the mixing, mastering, and studio gear. Also, most of the songs were specifically written for this project. The album is being released on limited edition colored vinyl (500 red / 500 green), black vinyl (2,000), and CD. THERE WILL ONLY BE 1 PRESSING OF THE RECORD! In addition, it’ll be available worldwide digitally. Additional pre-order items include vinyl test presses, exclusive t-shirts, signed and numbered prints of the album art by Circa Survive guitarist Colin Frangicetto, autographed drum sticks/heads that were used in sessions, and one of a kind interactive experiences such as bowling with Will Yip and Circa Survive, group studio tour, be a fly on the wall during a session, and an all-day recording clinic. In addition, fans will be able to purchase tickets for the inaugural Studio 4 Sessions featuring Anthony Green with special guests Tigers Jaw on September 20th and 21st. Different from other intimate stripped-down sessions, it will be fully interactive with Q&A throughout the entire show. Most of all, everyone in attendance will receive a copy of the session on CD. At the mere age of 14, Will Yip started off his recording career working with local bands as an apprentice under Chris Grillo at Ground Control Recording in Northeast Philadelphia. After he learned the basics, he bought some of Chris’ old gear and began recording in his parent’s basement. Fortunately, he was able to fine-tune his skills and land a job at Studio 4, which is one of the last of its kind with Neve and SSL consoles. Over the past 30 years Studio 4 has produced countless platinum, gold, and Grammy-winning records and even housed the most successful indie record label of all-time – Ruffhouse Records. Today, he’s one of the most sought after producers in both the local and indie music scenes. His project Off The Board: A Studio 4 Family Compilation is being released on October 8th, 2013 and will be available for a limited time. List of Bundles/Packages/Etc.: "Off the Board : A Studio 4 Family Compilation" - T Shirt w/ Black Vinyl - $30.00 "Off the Board : A Studio 4 Family Compilation" 14x14 Fine Artwork Print - $35.00 "Studio 4 Sessions" In-Studio Show - Anthony Green - $80.00 "Studio 4 Sessions" In-Studio Show - Anthony Green + Notebook - $650.00 "Off the Board : A Studio 4 Family Compilation" - Vinyl Test Press - $200.00 "Lil Will" 5x7 Black and White Artwork - $5.00 "Lil Will" 16x20 Black and White Artwork - $300.00 Title Fight and "Lil Will" T Shirt. - $15.00 Circa Survive Design and "Lil Will" T Shirt. - $15.00 Balance and Composure and "Lil Will" T Shirt - $15.00 Daylight and "Lil Will" T Shirt - $15.00 Citizen and "Lil Will" T Shirt - $15.00 "Lil Will" 5 T-Shirt Bundle - $60.00 Circa Survive - Exclusive Limited Edition Design - $15.00 Balance and Composure - Exclusive Limited Edition Design - $15.00 Title Fight - Exclusive Limited Edition Design - $18.00 Man Overboard - Exclusive Limited Edition Design - $15.00 Used & Signed Drum Head - $125.00 - $175.00 Used & Autographed Drum Sticks - $50.00 Man Overboard 'Heart Attack' Check-Off Board - $250.00 Assistant For A Day - $250.00 Group Tour of Legendary Studio 4 - $50.00 A Night of Bowling with Will & Circa Survive - $600.00 Recording & Production Clinic Feat. Anthony Green - $300.00
  2. 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
  3. 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.
  4. TUNED IN to CIRCA SURVIVE Sunday, May 09, 2010 Our featured Tuned In band this week is Circa Survive. They are a popular Rock band from Doylestown PA signed to Atlantic Records. We caught up with them during a special performance at Siren Records in Doylestown. This special homecoming show was part of their Record Store Tour, in which they played at various local record stores throughout the country to show support for local businesses. Please enjoy their biography courtesy of their label, Atlantic Records. Nick Beard (Bass) . Steve Clifford (Drums) . Brendan Ekstrom (Guitar) . Colin Frangicetto (Guitar) . Anthony Green (Vocals) Whatever you think Circa Survive's new album means, you're right. However you understand the lyrics, in whichever way you construe the melodies, whatever emotions rise within you, whether it generates nostalgia or pain or hope or something you can't name, Blue Sky Noise expands to encompass any possible perception of itself. The Doylestown, PA-based band's multi-faceted sound has always allowed infinite space for interpretation, melding intricate prog and mind-bending psychedelia with massive riffs and singer Anthony Green's reflective, intimate lyricism. With Blue Sky Noise, Circa Survive have crystallized their complex sound and equally involved ideas about the world around them into their most confident and focused collection to date. Songs like "Imaginary Enemy" and "Get Out" are elaborately orchestrated and intensely powerful, offering the purest expression thus far of Circa Survive's singular identity. Hailed as a remarkably visceral live act since their 2004 foundation, Circa Survive followed 2007's acclaimed second album, On Letting Go, with nearly two years of non-stop touring, roadwork which saw the band bridging a diverse range of audiences with its idiosyncratic sonic vision. In addition to treks alongside bands such as Coheed & Cambria, Thrice, Pelican, and My Chemical Romance, Circa Survive dropped jaws at such dissimilar music festivals as Vans Warped Tour and Coachella. Upon returning home to the house they shared in Doylestown, the band took a brief but much-needed pause in order to readjust and revive their energies. It wasn't long before the five musicians began allowing ideas to gestate for a new record. In October of 2008, the band acquired a cottage-like house that bordered a stream and a nature preserve. They called it "The Creek House" and in one of its rooms, with a large picture window looking out into the world, they wrote nearly every day for several months. The process had its ups and down. The band, then unsigned, struggled with a tumultuous internal pressure to create something they were proud of, something that elevated their music to a new level of skill and innovation. Green, in particular, was consumed with uncertainty and felt unable to live up to his own expectations. Mid-way through the writing process, the singer had a breakdown, going what he calls "mentally bankrupt and ruined with self-doubt." With the band's support, he checked himself into a mental institution, where he spent a period of time recovering his sense of balance and unearthing a new perspective. "I just wanted to get better," Green explains. "People should know that when they get to their wit's end they should get help. I went to the local crisis center. I had to do that in order to make this record." When Green returned, although some of the problems remained, he found himself better able to confront the challenge of crafting this record with his bandmates. Circa Survive returned to writing every day in The Creek House. They eschewed any formula for songwriting. Every musical idea had its own method of creation, its own unique path of maturing into songs. For the first time in Circa Survive, guitarist Colin Frangicetto contributed lyrics and melodies for two songs"I Felt Free" and "Imaginary Enemy"and the band worked collaboratively to build a unified record piece by piece, song by song. "Frozen Creek," a haunting track written by Green and guitarist Brendan Ekstrom (the two also collaborated on "Get Out"), marked the first time the musicians felt they were on the right track during the writing process, and from there the group constructed the songs into an integrated whole, book-ended by surging opener "Strange Terrain" and shyly hopeful closer "Dyed In the Wool." "We really wanted to make sure we were writing a cohesive full-length album," says Ekstrom. "We wanted people to listen to our record from front to back, with all the songs flowing together seamlessly. A lot of it is a reflection of our personalities and what we went through, but also a reflection of the state of music and our reaction to the disintegration of the album." In the spring of 2009, the band, now signed with Atlantic Records, made a list of possible producers. They met with several, all dream scenarios, and immediately felt a connection with David Bottrill (Muse, Tool, King Crimson). The band sent songs to Bottrill from The Creek House throughout the spring and by the time they arrived in Toronto in July to begin preproduction, that communication had grown into a supportive discourse that helped the songs grow into the best versions of themselves. Circa Survive spent three and a half months in Toronto, recording in several different spaces, always reminding each other of the common goal they were working toward: making the best album possible. "We wanted to make a record with an element of patience," Frangicetto explains. "One where you might not discover something until the third or even thirtieth listen. David was the perfect guy for that. He was very intent on preserving the artist's vision. He wanted to take what we did and make it better. It was the most peaceful recording session we've ever had. He kept us in a team mentality. He told us on our last day, 'I don't think you guys could have made a better record.'" The twelve songs on Blue Sky Noise swell and dissolve into each other. The fervor and desperate force of "Get Out" as Green howls "Locked myself up in a room without a window/ Just to see if it was any easier to breathe" find equal strength in his bandmates' impassioned instrumentals. The urgent liberation of "I Felt Free" is reflected in its propulsive guitars, soaring melodies and the throb of an underlying beat. Layers of sound, built with revving guitars, patterned rhythms and the ardor of Green's vocals, allow the record to intensify and suspend, sprawling into vast atmospheric spaces and surging together into dramatic climaxes. Every track stands alone, but each stands taller beside its companions. It offers a profound sense of catharsis and represents a collective healing process for the musicians who birthed it. It is a segment of a greater whole, another stride toward an ultimate realization. "I feel like it says a million things," Green says. "It's all in the album. And it's all in the other albums. It's a bunch of unsaid stuff that I haven't recorded yet. Every album is a chapter and a step toward the truth. And you're never going to get there, you just have to keep going and going. I want this record to be in the world. It only makes sense out there. I'm like a pregnant mother about to explode. I just want it out there. It's weighing me down and I love it so much and I just want it to be alive so I can put it to my teat." Segment
  5. 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
  6. 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/
  7. Circa Survive - Sharp Practice (Music Video) . [09.19-20.2012] . (12.20.2012) Director: Chris Walldorf Cinematographer: Adam Stone (@ Mortimer Jones)
  8. 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