Drummer Matt Frazier talks about graduating to arenas as openers for Kings of Leon, the importance of percussion and melodies in crafting the Local Natives sound, and the next step in following up Hummingbird.
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.
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.
Well, 2012 was an interesting year.
But now it’s come to a close and I have to figure out how to rank everything from the past year and get a list together. I’ve been procrastinating on this one for a while, but, alas – here we go … in reverse order.
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.
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.
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.
Guitarist Eli Maiman chats about recording Walk the Moon’s major label debut, the success of “Anna Sun,” the magic of happy mistakes, and what it was like doing the band’s first record independently.
On May 5th, 2012, I had the chance to talk with Brian Fallon of The Gaslight Anthem about the band’s album, Handwritten. We also touch on a variety of other topics as well.
Vocalist Aaron Weiss explains the unique concept behind Ten Stories, the influence of faith on his lyrics, letting go of the desire to control, and mewithoutYou’s past/future.
Guitarist Mike Kennerty chats about the different cohesion behind The All-American Rejects’ fourth record Kids in the Street, having to restart things with every release, and maintaining passion for music.
Keyboardist Joe Lester talks about the new direction Silversun Pickups took on Neck of the Woods, its psychological underpinnings, writing longer songs, and why there’s no bonus to being on a major label anymore.
Greg Laswell discusses his latest album Landline, the desire to break away from writing sad songs, marriage with Ingrid Michelson, and not having a career backup plan.
Keyboardist Andrew Dost chats about the making of Some Nights, fun.’s recent shot to stardom, and maintaining a high degree of integrity in everything you do.
Frontman Michael Shepard chats about Lovedrug’s progression on Wild Blood, the process of falling in love with music again, and staying off the beaten track without a record label.
This review was originally published on AbsolutePunk.net on June 5th, 2011. It’s been ported to Chorus.fm exactly as it existed the day it was published.
I’ve been having a horrible time
Pulling myself together.
I’ve been closing my eyes to find
The old familiar failures.
I’ve been closing my eyes to find
Why all good things should fall apart.
So begins The Menzingersʼ latest record, the sweeping, driven, masterful On the Impossible Past. Those lyrics come from the opening (and essentially introductory) “Good Things,” a short song that starts calm before the guitars and vocals tumble into an avalanche of power. As we have come to expect from the band, which is following the phenomenal Chamberlain Waits, anthemic sing-alongs provide a vessel for thought-provoking lyrics.