Frontwoman Ritzy Bryan talks about the science vs. nature concept behind The Joy Formidable’s sophomore album Wolf’s Law, recording in Maine during the dead of winter, and the balancing act between the live show and studio recordings.
Today we’re excited to bring you the premiere of The Wonder Years’ “Passing Through a Screen Door.”
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Guitarist Christian McAlhaney discusses Anberlin’s latest album Vital, major label troubles, reuniting with producer Aaron Sprinkle, and the past and future of Acceptance.
Guitarist Jack Antonoff talks about fun.’s big Grammy night and performance, transitioning to a larger scale, staying in Some Nights mode, and what’s next for the band.
This best of list was put together by the AbsolutePunk.net staff in 2012. It used an old system for ranking albums, but has been brought over to Chorus.fm for posterity.
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We teamed up with PropertyOfZack to sit down with Chris Holmes, the co-producer and engineer behind Blink-182’s new EP, Dogs Eating Dogs.
What was it like going from working on Neighborhoods on and off for two years to doing Dogs Eatings Dogs in just over a month in terms of your role and it’s shift?
A very wild, yet familiar ride.
On Neighborhoods, while you could say we were on and off for two years, the crunch time “on” part was the last month or so. What I’ve found with most things with a deadline with bands, is you figure out the deadline, and you pack as much in as possible…and even more up until the last moment..It is the nature of the beast. There is no finishing early. There is always a need for more time. I call it End-of Record-itis.
With Dogs Eating Dogs, we were initially kind of casually starting to work on songs for the new LP for next year, and the next thing you know, we have one month to write, record, mix, and master for a Christmas release.
It ramped up quick as far as picking which ideas to focus on and really planning out how to make it happen within that time frame. My role essentially was the same as far as co-producer and engineer for the songs. What I’m trying to do as a co-producer is voice what I think the listener would want to hear, while also serving the song and balancing the artistic desires of the band. At the end of the day, the three guys decide what to do, but I can chime in and say my peace and hopefully offer a different perspective on things.
What I’m doing as engineer is trying to honor the legacy of the sounds from previous records and add my own touch to it. For example, if you listen to TOYPAJ Travis’s toms sound HUGE. I made a point to do the same treatment on them with this recording. The vocal sound on the “Untitled” record I really like, so I made sure to use the same vocal mic and recording chain from that record. To get even more micro, we had a different drum setup for almost every section of every song. For example on “Pretty Little Girl” ‘s pre-choruses we used these Zildjian 13″ hi-hats that were tight so you can hear every hit Travis is doing, and then when the chorus hits we put up this super-cracking OCDP Bell Brass Snare drum.
The only role change I had was being a little more hands-on with the delivery of the album and making sure it made it to iTunes, and to the bundles.
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Just before the band’s soundcheck in Philadelphia, we were able to get on the phone with Sum 41’s Deryck Whibley and ask him a few questions about the record that officially turns 10 years old today.
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Composer Nathan Johnson talks about creating the score for Looper, his nontraditional approach to recording and arranging instruments, his musical background, and working with his cousin, director Rian Johnson.
Kevin Devine and Andy Hull didn’t want Bad Books to be a one time thing, and with Bad Books II, they’re also showing it’s not a one trick pony. Today we’re bringing you the premiere of “It Never Stops,” which can be heard in the replies. The song carries like an angsty Wilco cut found on a Ryan Adams record. Let us know what you think in the replies. Pre-orders for the album can be found here.
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Lead singer Dan Reynolds talks about assembling Imagine Dragons’ first full-length Night Visions, how much Imagine Dragons has progressed in its short life span so far, and finding inspiration in dreams and personal demons.
Stephen Christian talks about the fragmented process of making The Quiet Life, getting back to a family vibe with Anchor & Braille, the instability of being a musician, and what to expect on Anberlin’s upcoming album, Vital.
Mike Shinoda discusses the detailed process behind Living Things, building songs out of Legos, and bridging the gap between the old and new styles of Linkin Park.
In the midst of their run on Warped Tour, I sat down with three of the gentlemen in Taking Back Sunday to discuss a bit about the nostalgia of Warped, their upcoming anniversary tour for Tell All Your Friends and bands they wish would do tours on a single record.
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Frontman Tim Skipper discusses why House of Heroes’ record Cold Hard Want comes from a desperate place, going after massive-sounding moments, and the legacy of staying true to who you are.
Frontman Justin Pierre discusses the different ideas Motion City Soundtrack pursued when writing Go, being obsessed with mortality, and how his dark past continues to play a role in his lyrics.