NOTAR was playing gigs all over NYC a few years back when he caught the attention of Counting Crows’ frontman Adam Duritz. Loving what he heard, Duritz signed NOTAR to his label, Tyrannosaurus Records. With a genre that is his own, NOTAR mixes hip-hop beats, intense rock riffs and has a stage presence like no other. You can check out NOTAR’s self-titled EP when it drops on September 14, 2010. To tide you over until then, Revolt’s Evelyn Miska Krieger recently caught up with NOTAR to ask him a few questions.

REVOLT: You’ve had the chance to work with hip-hop producer MGeeZy. What was that experience like?
NOTAR: Truly, I feel blessed for being able to work with MGeeZy and continuing to work with him. He understood the musical direction I wanted to head towards and the rock/hip hop dynamic works really well for us. Honestly, he is one of the most talented individuals I have ever known. We work well together to say the least.

REVOLT: What in particular did you learn from working with MGeeZy? Is there a “number one” piece of advice you were able to take away from working
with him?
NOTAR: When you’re working with different people I think you always pick up on different things. I never really have to think when making music with MGeezy. It’s natural and when it is completed, it’s epic. I wouldn’t say there was any real advice I received or gathered from working with him but if working with him did anything, it truly reinforced how bad I want to win and, again, how truly blessed I have been to be able to work with such talented individuals. Ask MGeeZy if he received any advice from me. I’m sure he has! Hahaha!

REVOLT: What kinds of approaches did you take into recording your EP? What would you change for the next album you put out?
NOTAR: The approach/purpose for this EP/(and full-length to follow) was to create songs based around a character facing a lot of hardship in his life. I wanted to paint the picture of someone encapsulated in madness, temptation, pain, and immediate gratification. A lot of these songs were based around that ideology. I create each song differently but time and patience usually are the two main components. I believe as you grow and time moves forward, things always change. Music should change and reflect the times in your life that are changing. As long as I’m being honest and true to myself that will determine what changes.

REVOLT: What are you most proud of about your self-titled EP?
NOTAR: I’m most proud I was able to record it and extremely proud that people will hear my work. I put my heart into every song.

REVOLT: You’ve been wrapping up some touring with the Counting Crows. What was that experience like?
NOTAR: It was truly the best time of my life. To be on the road doing what you love with amazing musicians such as the Counting Crows and Augustana was incredible. I wish I had the words to describe how fun that was.

REVOLT: Do you have any further tour plans for supporting your EP? What is your next step?
NOTAR: Yes, I plan on getting out and touring as much as possible. This is being sorted out now. My next step is to continue to work hard and keep recording. How hard I work depends on what is next. Touring is the most important thing for me right now, though.

REVOLT: What is the best part of your work at this point? What is the most difficult?
NOTAR:The best part is being creative. Waking up one day and saying ‘I want to give the world something tomorrow that it doesn’t have today.’ I love writing and creating. The most difficult is the “hurry up and wait” of this
business. “Get this done you have to hurry!” Then I get it done and I’m waiting for something to happen. Was it Bono that said “running to stand still”? Well, that’s how I feel a lot of the time. Haha!

REVOLT: Coming from formal jazz training, how has that background influenced you as you’ve moved into the hip-hop world?
NOTAR: Music is music. I feel that trumpet playing and being trained enables me now to have a better grasp on rhythms and the way I can approach cutting up a beat vocally. It helped my ear as well as overall musical knowledge.

REVOLT: What do you think are some of the most interesting trends in music right now? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re
particularly interested to hear?
NOTAR: Whatever is great I love. Goosebumps/chills are my sign something I’m listening to is great. I’m a huge Jack White fan as well as a fan of a slew of others. I’ve been listening to a lot of Wolfmother lately as well. Music as a whole excites me and I’m open to it all.

Band’s Website | MySpace | Twitter | Facebook

With a career dating back to 2003, Orange County’s Saosin has gained momentum and fans over the years- thanks in part to their extensive touring and festival appearances. To date, Saosin has been on four Vans Warped tours, a Rockstar Taste Of Chaos outing and 2007’s Projekt Revolution tour. Revolt’s Evelyn Miska had a quick Q&A Session with Beau Burchell.

Revolt: In Search of Solid Ground came out on September 8, 2009. How do you feel about the fans’ response to the new album? The critics’?
Burchell: So far I have heard people getting very excited about the record. I keep getting emails from people saying how much they love it. It seems to be connecting with people and that is a good thing.

Revolt: What kinds of approaches did you take into recording In Search of Solid Ground that really worked well? Is there anything you already plan to do differently on the next album?
Burchell: We delegated different songs to different producers. Butch Walker did some songs, John Feldman did some songs. And we even self-produced a few songs. It was a really fun process. It really kept things fresh and kept us from falling into a routine.

Revolt: What are you most proud of about In Search of Solid Ground? The album’s title sounds like it has a story behind it- what is that story?
Burchell: I am proud that we were able to progress as a band. We could have easily written the self titled record part 2. But we chose to expand instead. It’s a really good record. Also, utilizing the Blumlien Microphone technique on a tribal drum circle was quite a milestone.

Revolt: You worked with a number of different producers for this album, including Butch Walker and John Feldman. What was that experience like?
Burchell: It was really cool working with both of them. They each have a very unique style and we got along with both of them very well. I really hope to work with both of them in the future.

Revolt: When the artwork for In Search of Solid Ground was released early to the public, it was met with some negative response. What do you think prompted that reaction? In hindsight, would you do things differently in this area if you could go back and change it?
Burchell: I think that people responded negatively because the artwork wasn’t that cool. It was a super high concept piece that just was not executed well. We have a close relationship with our fans. We let them view the whole recording process via a live stream with audio and video hosted by Hurley where they could chat and discuss what we were doing. We care about our fans and respect their opinions.

Revolt: You have very extensive touring plans for the rest of the year that will take you all over the U.S. What are your thoughts on touring? What are your plans for international touring in support of the album at this point?
Burchell: Yes. We start the PacSun Tour November 6, 2009 here in Los Angeles and we are all looking forward to playing new songs and supporting the record, not only in the states, but all over the world after the New Year.

Revolt: While most bands want to be known for doing something original, every musician has likely been influenced by another band or artist. Who has been your biggest influence or what band/musician do you most admire?
Burchell: Oasis, Third Eye Blind, In Flames

Revolt: What do you think are some of the most interesting trends in music right now? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re particularly psyched to hear?
Burchell: Yes. I am very excited to hear the follow up to Third Eye Blind’s record Ursa Major. It is called Ursa Minor, and I’m counting down the days til it comes out. I love that band.

Band’s Website | MySpace | Twitter

The Used’s returns with their fourth studio album, Artwork, which is set to release via Reprise Records on September 1, 2009. This album marks a series of changes for the band. Not only did the band add new drummer Dan Whitesides to the mix, but they also changed management within their label as well as worked with a new producer. Having worked with Goldfinger’s frontman John Feldmann as producer since 2001, The Used felt it was time for a change and enlisted producer Matt Squire (Panic at the Disco, Boys Like Girls, The Receiving End of Sirens) for Artwork.

So, how will these changes affect the band’s music? We caught up with The Used’s guitarist Quinn Allman for a Q & A Session.

Revolt: Your upcoming album is titled Artwork. What is the significance of the title?

Allman: [It means] anything and everything is art. Life is work.

Revolt: Describe Artwork.

Allman: [It's] honest and free. It’s everything.

Revolt: If you had to name a predominant theme, or concept behind this album, what is it?

Allman: The theme was always loosely based around keeping things real and organic. Lyrically, a lot of the songs touch on sacrificing everything. Including yourself.

Revolt: Obviously when a band has been together for many years, things change. How has The Used grown musically over the years?

Allman: We’ve always been a band that writes music for us. Were not trying to sound like anyone else and as friends, we’ve grown to worry about the big picture and have learned to endure. We’re thinking more about doing things our way and not letting the bullshit around us dictate our lives.

Revolt: This is the first studio album not produced by John Feldmann. What was the reason for changing things up this time around?

Allman: We were ready for a change. We needed to change. [Producer] Matt [Squire] was so hands-off that he allowed us to be picky about the direction of the album. And that let us focus more on our vision. John [Feldmann] has taught us so much about songwriting and recording that we knew we couldn’t fail ourselves if we just took a chance. And things worked out.

Revolt: Is there anything on Artwork that will surprise your fans?

Allman: I think they’ll be blown away by the album. All the art packaging was done with our photos and Bert’s [McCracken] journal scribbles. It’s really personal to us both visually and musically. I think people will be relieved rather than surprised.

Revolt: What are your tour plans in support of the album?

Allman: We’ll be touring a lot! All over the world, anywhere and everywhere. Watch out!

Revolt: What’s your favorite thing about touring?

Allman: The best thing about touring is we get to play music and hang out with our friends.

Revolt: And naturally, I’ll have to ask what your least favorite part about it is.

Allman: My worst part of touring is being away from home and loved ones. It’s like a huge part of your life is just passing you by.

Revolt: What has been the most fucked up thing to ever happen to you on tour?

Allman: I can’t remember. Honest! We probably drink too much.

Revolt: Do you have a favorite city, or state to play?

Allman: Everywhere we play is pretty rad. We honestly always have a great time no matter where we are. ‘I love new York city, oh yeah new york city’

Revolt: Name a band that you’ve never toured with, but would love to.

Allman: Weezer, Foo Fighters, and there are a few others.

Revolt: Thrice’s newest album, Beggars, recently leaked on the internet, forcing its early release. Any thoughts about the impact the Internet has had on your music?

Allman: On the positive side of things, [the Internet] reaches more people and places in an instant. But, people can also steal your music. You’re not hurting anyone but the band when you steal music. And that’s [kind of] shitty.

Revolt: You guys recently did a cover of Talking Heads’ “Burning Down The House” – if you could pick any other song to cover, what would it be?

Allman: Killing Joke’s “You’ll Never Get To Me” – go buy it right now!

Revolt: Ok, describe each of your bandmates in one word.

Allman: Dan [Whitesides]: Party (Dan likes to party)
Jeph [Howard]: Gamer (Jeph likes games)
Me: Phoner (I’m always talking on my phone)
Bert [McCracken]: Sleepless (Bert never sleeps)
Other guy: Invisible (because you can’t see him)

Band’s Website | MySpace | Twitter

There are a few things you should know about Daryl Palumbo. The first: he is a busy guy. He has so many musical projects going on that it makes you wonder if he has time to sleep. The second: he is a man of his word. This interview was weeks in the making– not because Palumbo is extremely busy (which he is) but because each time he tried to do the interview with me, I was in bed, fast asleep. (What can I say? I get tired.) The third: he is without a doubt, an extremely genuine person. Knowing that I’ve wanted to interview him for ages, Daryl told me I could ask him whatever I wanted about everything and anything. To spare him from being subjected to schoolgirl like giggles and screams, I kept my questions direct and relevant to the projects he has on his plate now.

Most known as frontman for post-hardcore act Glassjaw and frontman for power-pop band Head Automatica, Daryl Palumbo’s talent is so vast and blatant that he has achieved something that isn’t easy to achieve: he has been able to bring legions of his fans from each of his projects across various genres. Power-pop, Screamo, Grindcore, Hip-Hop, Hardcore, Post-hardcore – these are just a few of the genres that Palumbo seamlessly sails through, with most of his fans following right along.

Over the years, on top of his own ever-growing list of projects which include House Of Blow, United Nations, Glassjaw and Head Automatica just to name a few, Palumbo has collaborated with tons of musicians and bands. He has had his hand in things such as doing backing vocals for bands such as Every Time I Die and Finch, to helping out his buddies (Cage Kennylz, El-P and tons more) on their musical endeavors. Currently, Palumbo is working with his House Of Blow partner F. Sean Martin (XO Skeletons, ex-Hatebreed) on new tracks for Cardboard City member Yak Ballz. Daryl Palumbo is spreading his talent everywhere and successfully leaving his musical imprint on an endless number of projects.

Recently, bits and pieces of information about both Head Automatica and Glassjaw have made the rounds on the internet. When Palumbo recently announced on Twitter that Glassjaw had just wrapped up their new EP, the band’s first new batch of material since 2002’s Worship And Tribute, a steady buzz began. Some fans were ecstatic, while others thought it was a joke since they had been waiting so long for it. Rest assured it’s not a joke; the EP is complete. “It’s a five or six song EP,” says Palumbo. “And the EP will be slightly different from the full-length. The new Glassjaw stuff is far more aggressive than it was previously. This is stuff that Justin (Beck) and I have been working on for a long time. It’s far more aggressive than I ever thought it would be,” Palumbo explains.

Another question that Palumbo has recently been hit with on Twitter: the truth behind with news that Glassjaw would be playing a show with Brand New on November 28, 2009 at the Nassau Coliseum, which many fans found out about through a flyer that listed Glassjaw as an act. The day after the flyer appeared and the internet started buzzing, I received a press release about the show. “Seriously?” Palumbo asks, “You already got a press release for that show? Wow. Well, yeah, we’re definitely playing it. And I’m really excited because I grew up going to shows there,” Palumbo states.

So with one show announced, does that mean Glassjaw fans can expect even more show dates? “Yes… soon. We’re currently working on a string of dates but I’m hesitant to say more because if it doesn’t happen exactly how I say or with the bands I mention, well…,” states Palumbo. “Let me help you out,” I say to Daryl, “you’ll get crucified like Jesus?” “Yes! That’s exactly the word that was about to come out of my mouth – crucified,” laughs Palumbo. “Justin and I would be crucified if we made all of these announcements without everything set in stone, so for now, I won’t go into details.” And they wouldn’t be “crucified” because people are looking to find fault with Palumbo, but because Glassjaw fans want shows and music from the band that badly.

If appeasing the Glassjaw fans isn’t enough, Palumbo sent out Tweets mentioning that Head Automatica had recently put the finishing touches on their upcoming release, Swan Damage, causing even more panties to twist in excitement. “Swan Damage is completely done! I was just in L.A. a couple of weeks ago for some mixing. We’re just waiting for it to be mastered now,” explains Palumbo. “We had an awesome production team- Brothers [Studio] from Brooklyn, who are seriously fantastic.” So, when can fans expect Swan Damage to be released? “Well, it’s still too early to say,” says Palumbo. “It will probably be out by the end of the year.”

Head Automatica has always had the ability to get their fans dancing, so will Swan Damage be more of the same? According to Daryl Palumbo, the album goes far beyond Head Automatica’s previous releases, 2004’s Decadance and 2006’s Popaganda. When asked to describe the album, “body-rocking” is the first thing out of Palumbo’s mouth. “The whole album is going to surprise our fans. This album is exactly what we wanted to get across sonically and never quite did with our previous albums. It’s filled with such different vibes,” says Palumbo. When asked if there is anything about Swan Damage of which he is the most proud, Palumbo simply says, “All of it. I’m proud of the entire thing.”

As with any band that has been together for a while, there is always the dichotomy of keeping steadfast fans happy by giving them the sounds they are most familiar, but also being able to be inventive enough to show growth and take things to the next level by winning over new fans. Palumbo thinks HA achieved both of those things on Swan Damage. “It captures everything we ever intended Head Automatica to be. It covers the genre spectrum; there are powerful clubby tracks, garage-pop tracks, and body-rocking tracks. This album really reflects the full spectrum of music this band is capable of playing.”

Interviewing someone like Daryl Palumbo is awesome. And that isn’t solely because he has amazing talent, an already-prolific career and lots to talk about, but because his energy and enthusiasm for what he does is 100% genuine and infectious. He is excited when discussing the music he’s creating and he should be; he clearly loves what he does and that is blatantly apparent for every project on which he leaves his fingerprint.

Update: Head Automatica teamed up with Cubic Zirconia for an awesome 35-minute mix, “Sono Sopra De Ti,” which you can download for free by clicking here.

Head Automatica on MySpace
Glassjaw on MySpace
House Of Blow on MySpace
Cardboard City on MySpace
Daryl Palumbo on Twitter

Photo of Daryl Palumbo by Jarvis Morgan Holden

Taking Back Sunday recently released their fourth studio album, New Again. Matt Rubano graciously let Revolt’s Evelyn Miska pelt him with questions surrounding the new album, the band’s adjustment to the departure of Fred Mascherino and more.

Revolt: New Again came out on June 2nd. What are your hopes for the album and do those desires change as you get further along in your career?

MR: For us, New Again is a very important and symbolic record. I feel like we have taken a big step forward in not only developing the sound of the band, but developing as songwriters as well. We became very empowered by the idea that Taking Back Sunday is what we say it is… meaning we will always be trying to redefine what it means to sound like TBS. We are a living thing and we always want to be growing. That’s what is exciting to us- the possibilities of what we can do now, and in the future.

Revolt: What kinds of approaches did you take into recording New Again that really worked well? Is there anything you already plan to do differently on the next album?

MR: Each record we make comes with loads of lessons and seeds for new ideas on how to improve or change the next [record]. We did a lot of rehearsing and preproduction for New Again and while we wanted to try to record as much of it as possible live, it turns out that can be in direct conflict with getting the sounds just right. We were very particular in making sure things were the way we wanted them to be and really tried to treat each song as its own little world.

Revolt: Since the release of Louder Now, Taking Back Sunday has gone through some lineup changes. How has the band adjusted to the departure of Fred Mascherino? Has the addition of Matt Fazzi brought some new ideas to the band?

MR: The symbolism behind New Again is as much musical as it is personal for us. We’ve gone through many changes as a band and as individuals. When Matt Fazzi joined the band, he brought with him fearless inventiveness and an open mind and that really spread to everyone else and became the fuel we were using the make the album. We erased all the boundaries and just stayed focused on writing a great song and making it sound original. New Again was the most fun and organically written and recorded album to-date.

Revolt: You have very extensive touring plans for the summer, including some time in the U.K and Europe. What are your thoughts on touring? Is there any particular place that you are especially looking forward to playing?

MR: TBS has always been a band that spends a lot of time on the road so touring is a very natural environment for us. One thing that is very important to us this time around is to try to get to all of the countries we have not yet visited. I’m anxious to go back to Australia, and go to Sweden, Norway, Finland, South America, Hawaii, and Indonesia all for the first time.

Revolt: The band has announced that there will be some shows in the late summer with Blink-182. How did this partnership come about? What are your thoughts on Blink-182’s “reunion” tour?

MR: We’ve toured with Blink-182 before and have always had a good relationship with the guys. They took us on what was our first tour in really big venues. Tom [DeLonge] also directed the video for “This Photograph Is Proof” so over the years we’ve become close friends… and if you ask Tom, he might even say lovers. We are really looking forward to that tour.

Revolt: What is the best part of being part of Taking Back Sunday at this moment? What is the most difficult aspect?

MR: The best part of being in TBS right now is that playing shows has never been more fun and I don’t think we’ve ever sounded better. This entire tour has been a string of great shows for us. Anberlin and Envy On The Coast are with us too and they are both great bands filled with great people. I don’t usually focus on the difficult aspects, to be honest. A lot of the difficult aspects are no longer a problem. Don’t get me wrong- there are bad days, but nothing that makes playing or being in the band less enjoyable. The highs are high and the lows go by quickly.

Revolt: While most bands want to be known for doing something original, every musician has likely been influenced by another band or artist. Who has been your biggest influence or what band/musician do you most admire?

MR: That, for me, is always the hardest question to answer. I feel like influence is like light going through a prism – kind of like, what goes in comes out on the other side very differently. I listen to so much music and take so many different things from it that while I’m influenced by Miles Davis and Fugazi, it’s not like you’d be able to find where that sits in TBS. These days, I really like what Queens Of The Stone Age is doing, Envy On The Coast, Muse, Mos Def, lots of things… also, I miss Jeff Buckley. I look up to bands and musicians that have taken their careers to the point where they don’t need radio, or MTV, or mainstream support to do what they do. That’s one of my goals for TBS, to exist by ourselves with a direct relationship to our fans.

Revolt: Do you have any thoughts on some of the latest music trends? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re particularly psyched to hear?

MR: I think we are approaching a great era where people have heard so many different things, that the possibilities for musicians and songwriters are really endless. Every genre has been crossed with every other genre, people have explored noise, pop, rock, hip hop, everything. I feel like there will be a return to (hopefully) playing instruments and a refocus on the soul behind something, rather than how safe and clean it is or if its “boobs” are hanging out. The one person that I have encountered that I’m very excited about is a guy named Gavin Castleton. For lack of a better description, he is kind of like a young Brian Wilson. He is an incredible composer with a full knowledge of seemingly all music around the world. I like him because he is conceptual without being aloof or boring and his music is just simply awesome. He’s definitely worth checking out.

Band’s Website | MySpace | Twitter

Coming off of an awesome week at Austin’s SXSW, Black Joe Lewis & The Honeybears are traveling across the U.S throughout April & May in support of their debut album Tell ‘Em What Your Name Is!. Revolt’s Evelyn Miska was able to catch up with the band for a Q&A Session.

Revolt: What are your hopes for the album, Tell ‘Em What Your Name Is!?
BJL: It’s the first album so I hope people buy it all over the world, and from there, maybe go intergalactic.

Revolt: You worked with Jim Eno (Spoon) while recording the album. How did you get to know him and what was the experience working with him like?
BJL: I met him on tour with Spoon. He wanted us to come into his studio to record “Gunpowder” and the session was great. He really gets our sound, and did a great job on the new album. Without him, it wouldn’t have happened.

Revolt: What are you most proud of about Tell ‘Em What Your Name Is!?
BJL: It got on a great label that will be able to get our music to people everywhere. Hopefully, it will get tons of people to come out to shows. Our live set is really what we are all about.

Revolt: You’ve been playing lots of shows for the past couple of months. What are you looking forward to on the tour? What aspects of touring don’t you like? Do you have plans to tour more extensively across the U.S. in support of your album in the near future?
BJL: We are going to do some shows with Robert Randolph and Lucero, which we are really looking forward to. Cramming into a van for hours can be a bitch, but I like getting to see the landscape of the US, the west coast especially because you see it change from forests, to mountains, to deserts as you go. Hopefully, we can bring our show all over. It would be great to go to Europe or Australia or something.

Revolt: You were named as one of the ten bands expected to break out at this year’s SXSW and you generated a huge buzz. Do those sorts of proclamations make the experience any more exciting or anxiety-provoking?
BJL: It’s flattering to get that kind attention. It’s always more exciting when more people are at the shows.

Revolt: What is the best part of being part of Black Joe Lewis & The Honeybears at this moment? What is the most difficult aspect?
BJL: The best part is going on the road and playing the shows. The most difficult part is probably our bass player’s snoring.

Revolt: While most bands want to be known for doing something original, every musician has likely been influenced by another band or artist. Who has been your biggest influence or what band/musician do you most admire?
BJL: Jimi Hendrix. He changed the game completely. It would be impossible for any one person to do what he did for music again.

Revolt: What do you think are some of the most interesting trends in music right now? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re particularly psyched to hear?BJL: I’m kind of out of the loop. I’ve been recently discovering the beauty of Yacht Rock, such as Michael McDonald, Hall & Oates, Toto, Steely Dan, and Christopher Cross. I know what you’re thinking, so don’t knock it ‘till you’ve tried it.

Revolt: Finally, what prompted you to choose “Black Joe Lewis and the Honeybears” as your group name?
BJL: Well, I’m black, and my name’s Joe Lewis. As for the band name, the Honeybears always get what they want. Especially honey.

Band’s MySpace

With a career that spans close to two decades, including a break-up and reunion, Superdrag is gearing up for the March 17th release of their latest release, Industry Giants. Revolt owner Sherri Gibbons recently had the opportunity to meet up with founding member, songwriter, singer and lead guitarist John Davis for a Q & A session.

Revolt: Clearly, when the band returned in 2007, your fans were ecstatic. What factored into the decision to reunite?
Davis: It always seemed inevitable to me. I knew the band had more work to do.

Revolt: Was the decision to come together again after a long hiatus one that everyone readily agreed to, or did anyone have doubts?
Davis: It was unanimous. As far as I know. [laughing] You always have questions, but in this case they were logistical questions, mostly. Not questions as to whether or not it was a good idea philosophically.

Revolt: What was the best part about playing shows as a group again? The worst part?
Davis: The best part hands-down was the overwhelmingly positive response from the fans. The worst part was probably just not being able to go everywhere we’d liked to have gone on the first go-round.

Revolt: Is there anything that is vastly different- either in the dynamics of the band or the dynamics of recording this time around versus in the past?
Davis: This recording process was vastly different than any of the others, out of necessity. We had to do it guerrilla-style; sort of going in with laser focus for two days here or there and recording three or four songs, then abandoning it for two months until we could get back into a studio and get everybody in the same place at the same time. Life is much more complicated now than it was then, but in a great way. We all have families. Everything we do has to be scheduled within an inch of its life. That was one advantage to living in the same house like for years – just like The Monkees. We all ate, slept and breathed the band, 24-7. Things are much different now.

Revolt: When you look back, how do you feel the band has changed the most musically since the beginning?
Davis: I’d like to think we’re constantly narrowing the gap between the way a piece of music is conceived in the imagination and the way it sounds on record. I’d like to think we’ve become more effective communicators. There are songs on this album that could’ve been on the first album, in terms of the basic nuts and bolts of the tunes, but I think they benefit greatly from the thirteen years of life experience in-between. With time you learn more and more about the craft of arranging, and hopefully you learn to put more and more of yourself into what you’re expressing, even in a studio environment. There’s a fire that can get lost. I think this album’s got a lot of fire.

Revolt: You’re on the verge of releasing Industry Giants. There has been lots of music blog talk of this album rocking harder than any of your previous albums. What makes this album rock harder?
Davis: Several of the songs are just faster, more aggressive and more energetic than anything we put on record before. We’ve always played in Punk Rock bands, before, during and after Superdrag. That element of our music is probably just more upfront on this record than ever before.

Revolt: Superdrag is from Tennessee. Putting the words “music” and “Tennessee” in the same sentence will have most people instantly thinking only about “Country music.” What’s your favorite thing about the music scene in TN?
Davis: The history. All forms of American music have deep roots here. The first Rock ‘N Roll music was recorded here. Appalachian music, city Blues, country Blues, Gospel music and Spirituals, Jazz from St. Louis and New Orleans- they all sort of intersected in Memphis, Bristol, Nashville, Knoxville. Tennessee has a long and very prestigious musical heritage.

Revolt: Looking back, do you remember your very first show as Superdrag? What do you remember the most about it?
Davis: Absolutely I remember it. It was at Underdog Records on Cumberland Ave. in Knoxville. September 23, 1993. We were a three-piece. Brandon [Fisher] played bass. We opened up for Tom’s [Pappas] band, The Used [now referred to as The Used To Be]. No relation [to The Used]. Brandon and Don [Coffey, Jr.] actually played in both bands. We played one show prior to that under a different name, Rollbar.

Revolt: When Superdrag first started out, the band definitely was considered by many as a true indie band. There were waves of criticism after signing with Elektra in 1995. Did you see yourselves as an indie band? Was there ever a worry that your fans might think you were selling out?
Davis: We didn’t spend much time thinking about whether we were indie or not. I mailed one unsolicited demo in the history of our band. That was to James Agren at Darla Records. I bought the Grifters 7” he put out and I got his address off of the insert. I sent him a cassette of 4-track demos. We were shocked when he wrote us back, never mind wanting to put a record out! So we made a technological quantum leap up to 8-track cassette and recorded Stereo 360 Sound. Those were the songs that wound up on the Darla 7”s. So we recorded on cassette, and we took the cover photo for the first 7” with a Polaroid. These weren’t calculated indie moves, we just did the best we could with what we had. That record got some attention at about the same time we started touring steadily. We were just putting one foot in front of the other, literally. We had tunnel vision, and we just kept going forward, working toward one small step at a time. We talked to a dozen labels, at least, majors and indies. We just tried to choose the one that would help us reach as many people as possible with our records. In hindsight, there were pluses and minuses. I care even less about being called a sellout now than I did then. The Ramones were on Sire Records. Game over.

Revolt: How are things different for you now, label-wise versus back when you were on Elektra?
Davis: We have complete control over every aspect of what we do.

Revolt: With the release of Head Trip In Every Key, there was a distinct shift musically on the album. How does Industry Giants compare to Head Trip In Every Key?
Davis: There might be some similarities on some of the slower songs. Something like “Try” or “Live And Breathe” might’ve fit comfortably on Head Trip….

Revolt: If there is one message about the new album you want to get across to your fans, what is it?
Davis: It won’t be the last they’ll hear from us, God willing.

Revolt: What are some of your earliest memories of someone else’s music influencing you?
Davis: I don’t know if this answers the question or not, but the first album I ever bought with my own money was 1999 by Prince & The Revolution. I was in third Grade.

Revolt: Aside from the new album, what will 2009 have in store for Superdrag?
Davis: As many live dates as possible. Hopefully some TV and festival appearances. The record’s coming out in Japan, so we’re all really hopeful there’ll be a Japanese tour. Then it’s time to write the next record.

Revolt: Thank you so much for taking time answer my questions. Is there anything else you’d like to address that I haven’t asked?
Davis: Yes – Google “PDD 51”.

Band’s Website | MySpace

While some American listeners will already know Bell X1’s music from television shows such as The O.C. and Grey’s Anatomy, others will find their upcoming release to be completely new. Although they might be best known in their native Ireland and the surrounding U.K., Bell X1 is gaining fans and listeners in the United States at a good pace. Their fourth full-length album, Blue Lights On The Runway, was released on March 3, 2009 by Yep Roc records and will be supplemented by a few live shows in selected cities. While it must have been somewhat thrilling to hear their songs on primetime television shows, for Dave Geraghty (lead guitar), the most important part of being in Bell X1 has been the chance to continue to work creatively. However, it is impossible to ignore the fact that the growing notoriety has provided Bell X1 with some new and exciting opportunities.

For some bands, each new album brings with it new hopes and goals. Sometimes the goal is to break into the Top 10 on the charts. Other times it is to increase radio airtime. For Bell X1, the most important part of working on Bright Lights On The Runway has been the continued creative exploration. “I’ve always maintained that as long as you continue to turn yourself on creatively and this allows you to continue financially, then this is success. I think it’s over when the ego needs to be fed above the desire to create and connect,” Geraghty says.

Their creative drive is not limited to making music but also includes the production and labeling side of things as well. Like a number of other artists, Bell X1 started their own record label for all their Irish releases. As the record industry continues to evolve, Geraghty feels this is a good opportunity for musicians to take more control of their own product. “We had parted ways with our record company and wanted to release a live DVD of what was the pinnacle of the Flock chapter. So, we set up Belly Up Records and now release in Ireland this way. The decision is now ours to license our music with other companies in different territories,” Geraghty explains.

While beginning their own label might have increased the band’s workload to an extent, Geraghty feels that the work is worth it with the increased control they have over their music. As the industry changes, so too must musicians. Geraghty explains, “I think the role of the record company has shifted a lot. I think it’s a good thing that the power and control is in the hands of the self-releasing musicians. They learn to be more in control of their own destiny. Licensing with smaller indie labels in different territories is a more common practice these days and feels more partnership-based and built on the music, as opposed to how much a huge, multinational record company can claw back from their bands.”

While being in the United States means leaving their work with Belly Up Records somewhat behind them, they also have found the U.S. to be an ideal place to push the boundaries of their music. While many Americans see the U.K. as the next area to conquer when forging a musical career, Geraghty sees things a bit differently, “It’s hard to be sure right now, as we haven’t spent much time in the U.K. of late. But having spent so much time in the U.S. over the last year, it feels a lot more diverse. Where the U.K. is home to some great music, I think it constricts itself on what the ‘next big thing’ is. The U.S. seems more open to new things.”

It could be easy to fall into the trap of thinking that with four full-length albums under their belts, there is nothing new to learn, but Geraghty says that there is always something new to learn in the writing and recording process. Rather than get stuck in a rut of their own making, Bell X1 has tried hard to avoid such a pitfall. “I think working with different people or on new projects always reveals new ways of doing things. Sometimes it can be as easy as someone else’s attitude when approaching a certain process. We all continue to be proactive in this respect. I have started to release my own records on my own label in Ireland and this has given me an even deeper understanding of what making a record is all about. You consider what can be going through everyone else’s mind outside of your own role in a band. It’s a musical journey, man!” Geraghty says.

For Blue Lights On The Runway, Geraghty and his bandmates tried a few new things in an effort to break away from their usual approach. Although sometimes new techniques and approaches can be dangerous, Geraghty found the challenge to be a good one. “There are moments caught when the tape was left running, say at the end of a song. We’d seaway into a reprise of the vibe of the song. Trying to dance that fine line between self-indulgence and creating something spontaneous that holds the listener. I think Blue Lights On The Runway sounds much less considered for that reason. With our last record, Flock, the song structure is much more evident, which is not a bad thing either. It’s just nice to break the mold with which you’ve always worked,” Geraghty explains.

As Bell X1 has evolved musically, they’ve also had to deal with the shifting and departure of band members. Brian Crosby (guitar, keys, vocals) left the band in 2008 to pursue a career in film scoring and producing. With his departure, the remaining members had to decide how to go about filling the spot. Although they were a bit hesitant about how to deal best with this change, Geraghty feels that things have sorted themselves out for the best, “Brian hasn’t been involved in this album, which we had been recording on and off between touring since November ’07. So, I suppose we’ve had quite a while to think about who the right person is, to realize the sonic of Blue Lights On The Runway in a live context. Having played for so long together there was a certain reticence on how the ‘new blood’ would fit, but we all exhaled a sigh of relief during our three-date ice-breaking Vicar Street shows in Dublin last November. It feels right.” – EVELYN MISKA

Band’s Website | MySpace

With eight full-length albums under its belts, which includes today’s (February 17, 2009) release of the band’s Sagarmatha, Revolt’s Evelyn Miska had the pleasure of talking to The Appleseed Cast’s Chris Crisci.

Revolt: Sagarmatha released in the US today and it is your eighth full-length album. What are your hopes for the album and do those desires change as you get further along in your career?
Crisci: If we go Platinum on this one, let’s just say my hopes will have been surpassed. I think we’ve been a band [for] just over 10 years now. We survived the Bush administration in this band, and having done so, sure, I’d say some of our hopes have been modified. The core of why we do it has remained the same- it’s pretty selfish. I love writing and recording music. My interest in everything else related really exists because it lets me do the thing I love. I can speak for Aaron [Pillar] and include him, because I know he feels the same way.

Revolt: With eight albums under your belt, do you find that you still learn new things when entering the studio? What kinds of approaches did you take into recording Sagarmatha that really worked well? Is there anything you already plan to do differently on the next album?
Crisci: I learn something every time I get in the studio, or mix, even if it’s not my project. Every project is different, and there’s a million ways to present something. With Sagarmatha, I’m not sure what did or didn’t work well. I think I’m too close to it right now to say. I feel like we started out on a path and took it where it had to go [and] I love where we ended up. It was vastly different than what we were planning sonically, yet it still remained true to the overall concept of a mostly instrumental, amorphous, kind of montage of images and feelings.

Revolt: What are you most proud of about Sagarmatha?
Crisci: On “South Col,” close to the end, I play my favorite riff so far. I like to write a good riff.

Revolt: It looks as if you have a rather intense touring schedule for February and part of March. What are you looking forward to on the tour? What aspects of touring don’t you like? Do you have plans to tour overseas in support of your album?
Crisci: I have always liked touring. I like traveling and there’s a freedom to the road that I like. It’s relatively carefree in that, your everyday responsibilities are [to] wake up, drive, and play a show. What I don’t like about touring is that you have to leave everything you care about for an extended period of time. I have a wife, a daughter, and a little boy, and I miss them a lot on tour.

Revolt: The band has been settled in Lawrence, Kansas for a few years now. What prompted the move from California to Kansas? Do you find the environment has an influence on the type of music the band is creating?
Crisci: We left California pretty soon after forming. We’ve been in Lawrence for around 10 years now. I’m not sure about how the environment has influenced us. I feel like we would have had to have been a band longer in Los Angeles for me to be able to compare. I do feel [as though] Lawrence is a very artistically supportive town… but we’ve been asked that question a few times over the years and I still haven’t come up with a very good answer to it.

Revolt: How is the band adjusting to the departure of Marc Young and Aaron Coker? Have you had any success finding permanent replacements for them at this point?
Crisci: Right now we have a couple friends from other Lawrence bands playing with us, but we’re not going to try to rush anything. Aaron and I have always written nearly everything, so for right now we’re just talking about new songs and projects that we’re working on. When it comes time to start rehearsing for the next record we’ll see what happens then. We’re not ruling anything, or anyone, in or out.

Revolt: What is the best part of being part of The Appleseed Cast at this moment? What is the most difficult aspect?
Crisci: The best part is that I feel like we’ve recorded a unique record and I’m really excited about the ideas we have for the next one. The most difficult is being away from the family when I’m on the road.

Revolt: What are the upcoming plans for The Appleseed Cast besides some touring over the next month?
Crisci: Well, we’ll see where we are with writing soon, but we’re staying busy. Lots of writing and planning for the next album. It’s a record that we’ve wanted to make for a long time, and I think now is the time to do it. Aside from that, there are tons of other things keeping us busy, [such as] recording projects and other work. I wish I had more hours in a day.

Revolt: While most bands want to be known for doing something original, every musician has likely been influenced by another band or artist. Who has been your biggest influence or what band/musician do you most admire?
Crisci: We don’t sound like them, but Sonic Youth has had a huge amount of influence on how I look at music, and how I want to do things.

Revolt: What do you think are some of the most interesting trends in music right now? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re particularly psyched to hear?
Crisci: There are a lot of things going on, and that I like bits and pieces of each. There hasn’t been much that I have really been compelled to dive into, though. There will be, it just takes a few years in between.

Band’s MySpace

Not many bands can claim that they’ve been together for 20 years and, in a day when most marriages don’t even last 10 years, hitting the two decade mark in any sort of a relationship is a feat. For Bouncing Souls, the last 20 years have been an adventure full of twists, turns and surprises. While the individual members of the band have gotten older, married, had children and such, one thing remains the same: their intense dedication to creating music. For Greg Attonito, the experience is one he’d never give up and the 20-year mark has offered the band a number of new and exciting opportunities. Rather than becoming bored and complacent, Bouncing Souls are thrilled to still be together and making music.

It isn’t difficult to see that Attonito’s enthusiasm for the band hasn’t lessened over the years. These four New Jersey natives have a close bond that has only intensified in the time they’ve known each other, something to which Attonito attributes the band’s longevity. “There are so many things that are great on so many levels now that we have been together for so long. We have grown musically and creatively as a band and individuals in so many ways. We are brothers forever, through thick and thin, and we really have proven that to ourselves. It’s not just talk,” Attonito says. However, the bond isn’t only within the bounds of Bouncing Souls themselves- over time it has extended to their fans. “There is a core creativity and brotherhood between us that has become an extended love affair with our audience. That love affair has carried us through the difficult moments. We have become a huge extended family to ourselves. That is probably the thing that has kept the ship floating,” Attonito says.

Any relationship that has lasted for as long as Bouncing Souls’ has is bound to have some ups and downs and one question that some listeners or critics might ask is whether, after 20 years, a band or musician can still be relevant. For all the bands that have been together a long time and continued to produce innovative and exciting music, there are just as many that should have packed it in a long time ago. Attonito does not see longevity as exclusive of innovation, “We don’t think in those terms. We are creators who create things that are real and matter to us. That has always been and always will be. The amount of people who are interested might change but we will keep creating either way. You always want people to like and love the things you create, but that is not the whole driving force of it. The creative experience itself is the best part, not the praise or money (or lack of money) that comes from it.”

While the creative experience is one of the best parts of being in the music business for many artists, some of the chaos that can come with that life has the potential for disrupting that creativity and balance. For some bands, this lack of balance can be the end of the group, but if a band can learn to make balance, the long-term chances are fairly good. Attonito explains, “The best part is being able to make music and have it be loved and appreciated around the world. The difficult parts have always been within myself: Having doubts in myself, being unhappy with myself, not having the perspective of who I really am. Through soul searching, meditation and love from so many friends, family and my wife, Shanti, I have found the beauty in the difficult things.”

It would be easy to think you’ve seen and done it all after 20 years in the music business, but Bouncing Souls see their time as a continuous learning process. Even though they’ve been in the studio for seven full-length albums, numerous singles and splits, Attonito feels that their process continues to change and grow. Attonito explains, “We are always evolving in our creative process as we go. Including Ted Hutt, the producer of Gold Record and our latest songs as a new part of the process, has brought a great twist to our songwriting and recordings. Musical and artistic creativity is always about finding what is already there within us waiting to be expressed. So each time we approach a new creative project we are learning more about ourselves by what is emerging. Trying too hard does not work. You have to learn when to put the guitar down and go live.”

The band came up with one idea that many fans will enjoy. For all of 2009, Bouncing Souls will be releasing one new, original song each month as a way to celebrate their anniversary. All songs will be available as digital downloads from the band’s website as well as seven-inch singles. “It was a collective decision that started from a few collective questions. What do we want to do next and why do we want to do it? Do we really want to do the same old thing? We thought about doing just digital downloads and thought it would be fun to release one song at a time like a TV series, one episode at a time. Then we decided to put all the songs out on seven inches too, and we are also discussing a 20-year box set which will hopefully be done by the end of the year. Everything is being released through our own label which was how we originally put out our music when we started,” Attonito explains.

As hard as it might be to believe, there are still some things that are new to Bouncing Souls. While they’ve done tours in the past, they’ve spent January and will spend much of February touring in South America, something the band has never done. “This will be our first tour in South America! We have wanted to go there for years and now it is finally happening! Hopefully we will have a great reception. We will see. I’m looking forward to the experience and making some new friends,” Attonito says.

For many bands, the difficult aspects of a musical career could be wearying and enough to force one to call it quits. While there were those occasional moments for Attonito and his bandmates, they’ve learned to carry on and keep doing what they love best, “We have had those moments over the years but they happen less and less now because we have been through so much. The spirit of music and all that goes with the life we have created overpowers the doubts pretty easily now. We choose adventure over financial security time and time again and it has always paid off. The amazing and fulfilling life experiences we have had on top of all of the lives we have touched is the driving force that keeps us coming back when times seem tough.” – EVELYN MISKA

Band’s Website | MySpace
Check out a Guest Editorial written by Bouncing Souls in April 2007 by clicking here.