Pure Vibe Music Interview with Anthony Masington

by Matt. Posted June 20, 2011. If you haven’t heard the band The Flatline Symphony, you better start listening! They are great band and we got the unique experience of interviewing their singer Anthony Masington. I’m here with Anthony Masington from … Continue reading

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A Thousand Torches Needs Your Help To Stay Online!!!

We need help to stay online! Please donate anything you can to help pay our hosting fees for the year!

If we can’t raise the funds by Thursday, we’ll have to close up shop 🙁

click here to contribute anything you can to keep thefamily3 homebase in existence!

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aKt Exclusive Full Album Stream: Divest – Ghost Town Reckoning

Ghost Town Reckoning was recorded at Applehead Recording and Production in 2003. Divest (at that time) was Morgan Y. Evans, Dave Parker, Kurt Brown, Mike McCoy, and David Bodie. These recordings were produced by Dr. Know (Bad Brains), Danny Ilchuck, Michael Birnbaum, and Chris Bittner. The full album was never properly released, however, a 7″ vinyl single was pressed up (“Brand New Lie” / “Open Door Revelation”).

behind-the-scenes of Conspiracy Theories music videoYou can catch a glimpse of the single on the turntables in the Weerd Science “Conspiracy Theories w/Out Mel Gibson” music video… which was produced by the same dude who designed the Ghost Town Reckoning album cover- Chris Rahm (Rustwerx).

This specific version of GTR was remastered by Nate Kelley (a former member of Divest / original drummer of Shabutie) in 2009.   Continue reading


Dying Scene: Sean-Paul Pillsworth (Nightmares For A Week) tell DS all about the band, originality in music and why you should be listening to them.

Posted by brittles on Friday, January 28, 2011.

Nightmares For A WeekNightmares For A Week don’t follow the norm. They’ve carved out their place in the niche market that is the almagation of pop, indie, folk and punk and they deserve all the accolades that will surely be coming their way. Their most recent release, “Don’t Die” contains catchy pop hooks, well written musical orchestrations and above all, lyrically its easy to relate back to the trials, tribulations and jubilations that one experiences in day-to-day life. All these qualities combined are the result of these three talented musicians doing what they love to do and nothing else.

Sean-Paul spoke to Dying Scene about the bands history, recording vs. the live set, originality in music and he gave us three reasons just why you should give Nightmares For A Week a spin. Check out the full interview here.

Photo credit:  Andrew Katzowitz

For those not familiar with your work, can you give a brief background of the band?

The band came together in late August 2008, Bill and I had been playing music together for around 8 years (on and off) at that point. Ultimately Bill had a handful of songs he was recording by himself and asked me if I would want to pursue starting a new band, we asked Steve to play drums and we really never looked back.

There are a variety of instruments littered throughout “Don’t Die”. How did you decide on the orchestrations of the songs?

Nightmares (so far) has a pretty standard way of writing, Bill usually sits down and records acoustic ideas on his laptop. Sometimes he’ll have even three or four at once! We usually let the songs settle in and after listening to these demos. Then, Steve and I start to add our opinions and ideas. Sometimes songs get done in a night sometimes we over think and don’t come back to the idea for weeks.

Did you play all the instruments between the three of you or did you have guest musicians work on those parts?

We were lucky enough to have a handful of talented guests play on our record including our friend Frank Mcginnis on keys, James Felice from the Felice Brothers on the accordian, Bill’s father Tony Manley on saxophone on the song ‘Lightning Rod’ and Walter Schreifels with guest vocals on ‘Breath’s as Hard as Kerosene’.

Will those elements that appear throughout the album be lost in a live set? What do you on stage to fill that void?

When we released our first EP ‘A Flood Tomorrow’ we had not played a show. It was supposed to be a demo we were going to give away but soon after we finished recording it, Broken English decided to digitally distribute it and this seemed to create a buzz. It was exciting, but when we started to become more of a live band we found the EP wasn’t the best representation of our live show. ‘Don’t Die’ was written and recorded to take on more of our live sound. Of course when you make a record you may add bells and whistles that won’t be there live, I don’t believe this takes away from our live show at all. I wouldn’t say there is a void, we give every show 110%. It’s a raw, energetic, and overall positive outlet for us and hopefully those watching.

Have you (or any one in the band) ever had nightmares for a whole week?

(Sean-Paul) I haven’t.

Listening to “Don’t Die”, for me, the most obvious comparison to make is with The Get Up Kids. Where do you draw your influences from?

The Get Up Kids are on the list of influential bands, but I feel we most get tagged with that because of Bill’s voice. We draw a lot of influence from bands like the Descendents to Uncle Tupelo.

Do you think originality in music is still possible?

I do. I know that they say all art is a copy and of course at this point in time you hear the influence of generations creeping out of every album on the shelves. You can’t help that, but if you create something, even with a mountain of inspiration and influence pouring
out of you, you still created it. Unless you’re one of these factory bands put together by someone with money your music is original.

Two-thirds off the band come from post-hardcore backgrounds with Anadivine yet Nightmares For A Week are the polar opposite of post-hardcore. What inspired the change in direction?

We’ve spent a lot of time over the years (after Anadivine) playing in various bands. Nightmares is the combination of age and influence. We were in a different spot back then.

For myself personally, sometimes I find the simplest songs are the hardest to write. Do you run into any barriers when writing music or does creativity constantly flow?

There is a chemistry right now that keeps the creativity flowing, we’re not trying to brake that mold. We test it from time to time to keep the ideas fresh. We’re a simple band.

Don’t Die” has been described as ‘honest’ by both yourselves and the press. What about it is honest? Do you think someone can write a complete lie of an album?

I’m not sure if we have ever deemed our music “honest”. If we have ever been called “honest” by any press, I would take that as compliment. We put everything we have into our music. In music, listeners seem to know if the music you put out is a genuine statement. If people recognize that, that’s great! If not, at least we can say we have made something we are all proud of and can live with for the rest of our lives.

What’s next for NFAW?

Touring, writing, P.M.A. “One Nation”

What are 3 reasons that people should listen to Nightmares For A Week?

1. There’s something here for everyone
2. You’ve got nothing to lose
3. Can’t hurt

Any last words?

Thanks for your time, we hope to see everyone soon!

original location: http://dyingscene.com/news/ds-exclusive-sean-paul-pillsworth-nightmares-for-a-week-tell-ds-all-about-the-band-originality-in-music-and-why-you-should-be-listening-to-them/

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Rosebud Magazine: Nightmares For A Week Get Back To Songwriting Basics

Posted January 9, 2011.  By Happy Kreter.

Nightmares For A Week - Bill Manley, Sean-Paul Pillsworth, Steven Markota

Nightmares For a Week knock it out of the park on their new roots-influence punk rock album, Don't Die

Nightmares For a Week are a band with a name that is instantly recognizable to fans of ‘90s punk rock. The phrase is taken from a line on Jawbreaker’s final album, 1995’s Dear You, widely considered to be one of the most influential albums of the decade. But for listeners unfamiliar with that now classic band, the name Nightmares For a Week might conjure to mind a style of music somewhat more foreboding than the New York State trio’s brand of roots-influenced punk rock.

In spite of the band name and their ominously titled debut full-length Don’t Die, bassist and vocalist Sean Paul Pillsworth says the themes of the band tend to be uplifting.

“The words “Don’t Die” don’t mean don’t literally die, but just don’t let something good die out. If you’re living your life positively, then the good shouldn’t die out,” says Pillsworth.

Nightmares For a Week’s sound does much to support what Pillsworth claims. Don’t Die consists of about two-thirds punk rock with a rootsy feel similar to what Gaslight Anthem has found so much success doing. The other third of the album contains songs with a minor punk influence, and comes off sounding much more like Americana, a style of music increasingly on the playlists of the band members.

“The sound all came together because me and [singer/guitarist] Bill [Manley], we’ve played together for ten years,” explains Pillsworth. “On the punk side, we grew up listening to NOFX and Lagwagon and bands like that. Jawbreaker became a bigger influence, but also bands like Uncle Tupelo and Son Volt, and we wrote a song about Townes Van Zant because his catalogue was in heavy rotation while we were writing the record. So that’s how the more rootsy side of the album developed.”

For Pillsworth, Manley, and drummer Steven Markota, the progression to a more down-home style of songwriting is part of the maturation process.

“I spent a while as a songwriter trying to write songs that were difficult, technical, or complex, searching for this new way to blow somebody’s mind, but it came back to why am I doing this? I don’t enjoy listening to music like this,” explains Pillsworth. “Everyone wants to make their mark when they start a band, but then you come full circle, and you just want to write a good song – verse, chorus, have a good message, and play rock n’ roll. There are a lot of similarities between artists [like Townes Van Zant and NOFX].”

But that maturity isn’t limited to the band’s music. Like any good heart-on-his-sleeve artist, Pillsworth’s personal life plays a huge role in his creative approach. Part of that evolution has meant working hard to develop a positive outlook.

“Living more positive in the past year has been one of my goals,” says Pillsworth. “I definitely see the negative things that are going on every day, but I don’t get up in the morning and think that things are terrible. I’m 30 years old, and it seems like I’m more prone to anxiety [than when I was younger]. And I tried drugs and getting clinical help, but then I just had to take control, and say you know what? I’m not going to live like this. I’m not going to think about all the things that could go wrong. You can map out your goals, but if you’re ten days ahead of yourself, it’s impossible to do what you have to do. That reflects a lot on this band. We do things day by day, we have a good relationship, and people seem to like the music we’re making.”

He’s right. The album has gradually started to create a definite buzz, catching the ears of both fans and critics. And for good reason – the songs on Don’t Die are sincere and infectious, marking Nightmares For A Week as a band to watch as they hit the road to spread the word in 2011. With a little more of that positive effort, it could soon be the case that the band will be creating new associations for the phrase Nightmares For A Week.

original location: http://rosebudmag.com/entertainment/rm-music/item/3593-nfaw.html

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Most visited pages on www.athousandtorches.com in 2010

Thank you for a great year!  Though conceived in early 2008, A Thousand Torches was born in April 2010.  Our glimmering presence existed as merely a tumblelog, but with donations contributed, we’ve been able to bring aKt closer to the complete vision of the website.  Our Den (resource / archive) and Campsite (community bulletin board forum) are in development, and we’ve been in the habit of posting a rare thefamily3 song for download each month.  Over 300 pages currently exist in the Den and over 500 snippets have been shared on the Tumblelog!  During that time we’ve also begun to build an extensive collection of interviews, lyrics, detailed discographies…  there’s a wealth of information just waiting to be uncovered!  And plenty more to come!  As 3 goes into their 18th year of being a band and gets ready to release their 7th album, www.athousandtorches.com is prepared to be there!

We here at aKt look forward to spending another year with YOU as well as our favorite music!  Stay safe and have a healthy new year!  A Thousand Torches wouldn’t exist without its community.  <3

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Coheed and Cambria’s Big New Year’s Announcement

Co&Ca 2001-2011.  In celebration of our 10th anniversary: An Evening With Coheed and Cambria.  Spring 2011.  Full dates and details will be announced Monday, January 10th at 1pm EST.

Coheed and Cambria NYCIn 2005 Coheed and Cambria performed 4 “Evening With” shows at intimate venues.  It all kicked off Continue reading

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Go Play: Montgomery native finds success in music (Andy Jackson)

By Matt Okarmus.  Posted December 30, 2010.

Andy Jackson

Andy Jackson performs with the band Terrible Things.

Death in the Park's self-ti­tled debut is a 10-track al­bum that features guest vo­cals from Paramore's Hayley Williams on "Fallen." It was released in September and is available digitally, as is Terri­ble Things' self-titled debut.

Andy Jackson does terrible things at the park.

Far from a criminal, that actu­ally applies to the musical asso­ciations of the Montgomerian, currently a member of both the rock ‘n’ roll band Terrible Things and the indie rock band Death in the Park. However, be­fore he was terrible, Jackson was just making a name for him­self with Hot Rod Circuit, the first band he had major success with.

Born in North Carolina, Jack­son’s family moved to Birming­ham when he was three, and re­located to Montgomery when he was five. A graduate of Robert E. Lee High School, Jackson is now a father of three daughters who attend school in the city their fa­ther grew up in.

“I liked Montgomery’s cool, small-town vibe,” Jackson said. “It was one of those places where you could run around the neighborhood as kids.”

Jackson began his foray into music during his teenage years. He and his friends played in a variety of places, including skating rinks and house parties.

“I tried sports — football, rug­by — but it just wasn’t my thing,” Jackson said. “I was a skater and I hung around kids with different views. My love for music came from the skater scene and it drove me to do something different.”

On the suggestion of Jim Mar­rer of Zero Return Studios in Millbrook, an 18-year-old Jack­son met guitarist Casey Pre­stwood of Auburn. Jackson said he was “blown away” and the two merged their bands togeth­er to create Antidote, which lat­er became Hot Rod Circuit.

“We just heard it on an epi­sode of the ‘Simpsons,'” Jack­son said of the band’s name. “I think one of the characters said something about being on the hot rod circuit and we thought that sounded cool.”

At one point, Jackson went with his now ex-wife to visit her family in Connecticut. While there, the seeds were planted for the band’s move out of Alabama.

“I picked up the paper and I saw all these shows being adver­tised in places like New York, Boston, New Jersey,” Jackson said, “and I realized that’s where I needed to be.”

Jackson told his bandmates that he wanted to move to be closer to the type of music scene they were trying to break into. They all agreed, and thus the life of a struggling musician began. Jackson recalled sleeping on his mother-in-law’s floor and the band pitching in to get an apart­ment together.

The sacrifices paid off as Hot Rod Circuit enjoyed a decade-long career, releasing six al­bums and appearing on various soundtracks while touring countries such as Australia. Aft­er years together, the band members decided to go their separate ways.

“Everybody spent so much time on the road … we all just wanted to do something differ­ent,” Jackson said about the breakup.

Before saying goodbye for good, however, the band took a hiatus. It was during that time that Jackson began exploring other aspects of music, eventu­ally opening The Jackalope Stu­dio and playing a role in the early stages of the careers of lo­cal bands such as The Escape Frame and Evolett.

“Anything I can do to get my hand in the music,” Jackson said. “When it comes to music, I like to know everything there is about it.”

Jackson was the main song­writer for Hot Rod Circuit, as well as the lead vocalist and a guitarist. He also wrote every­thing for his solo project, Death in the Park, which gets its name from a song by Archers of Loaf, a band Jackson admired grow­ing up.

“When people hear the name, they think dark and heavy,” Jackson said. “But look at The Killers. They have an even dark­er name but come off classy.”

While there are some darker elements — Jackson credits the TV show “Dexter” as an inspira­tion for the music and the album artwork — he describes Death in the Park as “indie rock with a darker, melodic somewhat dancy feel.”

At first, Jackson was insecure about showing his material to anyone, but after receiving posi­tive feedback, he began record­ing and the solo project turned into a band. However, after a chance meeting with Fred Mas­cherino, Death in the Park once again became a side project.

Mascherino, formerly of alter­native rock band Taking Back Sunday, was in Montgomery playing a solo set at a venue where Jackson was helping out. The two had crossed paths be­fore, but after hearing Masche­rino’s music, Jackson told him that if he “ever wanted to do something” to let him know.

A short time later, Jackson re­ceived a phone call from Mas­cherino who said he was indeed interested in working with Jackson, and after securing for­mer Coheed and Cambria drum­mer Josh Eppard, Terrible Things was born. As the band featured members of former bands, fans of the various groups began buzzing about what the three musicians would sound like together.

That attention helped Terri­ble Things achieve something Jackson had not experienced be­fore — signing to a major record label, Universal Motown.

“It’s crazy, a different world,” Jackson said. “Having a label rep calling you saying you’re not tweeting enough — it’s kind of funny.”

Jackson said he feels support from Universal Motown and feels like the label believes in the band. The label set up a mu­sic video shoot for Terrible Things’ first single, “Revolu­tion,” off their self-titled album.

That same support is some­thing he wished there was more of from his hometown, not just for his bands but for an entire music scene.

“Montgomery’s not a music town, it’s not known for its out­break of music like Nashville and Atlanta,” Jackson said. “There are people that care, but there’s just not an urgency for local music. There are a lot of musicians and a lot of good bands here that if local radio were to give a listen to, they would actually like.”

When Jackson moved back to Montgomery, he said the deci­sion was easy because his fami­ly is here. His daughters are no longer the fans they used to be, which he thinks is “awesome,” as he believes it shows they have embraced their individual­ity.

“Maybe it’s just me, but I don’t think they’re impressed anymore,” Jackson said with a laugh. “They would have been so excited years ago, but now they are just like ‘cool, thanks for the copy.'”

Jackson is now on tour with Terrible Things, promoting their album that came out in August. They are currently fin­ishing their winter tour and preparing to hit the road with Bayside and Streetlight Mani­festo in early 2011 before em­barking on the summer music festival, Warped Tour.

“I rarely take a day off,” Jack­son said. “I like to work and I hate sitting around.”

original location: http://www.montgomeryadvertiser.com/article/20101230/GO/12300310/1023/ARCHIVES

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Save Your Scene Interview with Claudio Sanchez

by Valentina. Conducted October 4, 2003 at Astoria Theatre, London.
Coheed and Cambria

Valentina: Hi Claudio, getting to know you it’s a real pleasure. First thing I wanna ask you is: How did you guys get to know each other and formed the band?

Claudio: Travis (other guitar) and I live 45 minutes far from New York City, while Josh (drums) and Mike (bass) live about one hour and a half far from us. As you may understand, we all come from different scenes…We haven’t always played together, each of us used to play in different bands before, and moreover, in different cities. I’ve known Travis since I was 13 and we have often thought about forming a band…When we’ve started with “Shabutie”, in 1995, we were three, but we’ve immediately replaced the bassplayer with Mike, who, to be sincere, only knew how to play guitar at that time!….Then Josh Eppard (drums) joined the band: he would play in a band from Woodstock, and I’ve always loved his style, I’ve always considered him one of the best bass players I know… We were having some problems with our drummer, so we told each other, “why not asking Josh if he wants to reach the band?”

Valentina: What does “Shabutie” mean?

Claudio: Nothing in particular….It’s only the name of our band before we decided to switch it in Coheed&Cambria.

Valentina: Where does the name Coheed&Cambria come from?

Claudio: Coheed and Cambria are the two main characters of the saga I’m working on…

Valentina: You? And what’s this saga all about?

Claudio:The saga’s name is “The Bag” (online adventures) and it tells the adventures of two characters , (Coheed&Cambria), trough a science fiction reality of betrayals and redemptions..The tracks of our first album are going to be the soundtrack of it..

Valentina: Cool! Now, can you tell me how’s your music changed during all these years?

Claudio: Do you mean the difference between our old and our new album or the one between Shabutie and Coheed&Cambria?

Valentina: The one between Shabutie and Coheed&Cambria.

Claudio: With Shabutie the music was very elaborated, it included too many musical styles and it seemed very confused and kind of difficult to understand then…. Now the sound is way cleaner and clearer, we’ve brought some changes and as far as the technical dimension is concerned we’ve chosen a main structure that contains what we want the kids to hear.

Valentina: What’s the story behind the title’s choice of the record “The second stage turbine blade”?

Claudio: To be sincere, it’s always about the saga I’m working on… (laughs)

Valentina: Ok..What are you expecting from tonight and which is your favorite song to play live?

Claudio: It seems to me many cool kidz showed up tonight…even though I think that not all of them know us… Speaking about the song, right now I really like playing “The crowing”, contained in our new record.

Valentina: Which are your musical influences as a band? And your all time favourite records?

Claudio: Do you really mean the all time ones?

Valentina: Yes.

Claudio: There are so many…Pink Floyd’s “Dark side if the moon”, Queen’s “Night at the opera”, some Led Zeppelin records, The Smiths… and many others.

Valentina: Last question: Do you wanna say anything to your European fans?

Claudio: I think we’ll come back to Europe soon…. (laughs)

Valentina: I guess you’re a liar! J But you really should plan to make a serious european tour. So many kidz are waiting for you to come.

Claudio: We would be really happy to come and tour Europe too… Thanks for the interview, it has been a pleasure

Valentina: Thank you Claudio, hope to see you soon.

original location: http://www.saveyourscene.com/web/view.php?table=interviews&show=4

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What Was Your Favorite thefamily3 EP/LP of 2010? [Poll]

Join in on the Campsite Conversation!

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Altec Lansing Interview with Joey Eppard

Posted: November 19, 2010. Conducted May 2, 2008.

If you’d like to help out by transcribing this interview, please let us know by leaving a comment below!

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Terrible Things Announce Streaming Show

Last night Terrible Things tweeted that they were on uStream. It looks like they’re starting a show on there and will be streaming at various times to interact with fans (there’s a chat room along with the video stream on that website). Whenever the group goes on air they will tweet/update facebook & myspace statuses, so keep an eye out!

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newsarama: AMORY WARS Talk with Coheed and Cambria’s Claudio Sanchez

by David Pepose. Posted December 2nd, 2010.

Amory Wars

The Amory Wars are still being waged, but Heaven’s Fence is set to have a major turning point: The incarceration of Wilhelm Ryan.

A tyrant without equal, Ryan has made for some huge changes throughout the universe, and Coheed and Cambria frontman Claudio Sanchez — through his namesake lead character — will be exploring what happens next in his BOOM! Studios series, which saw the release of latest issue The Amory Wars: In Keeping Secrets of Silent Earth: 3 #6 last week.

With science fiction mixed with political intrigue, the stakes are high in this conflict, and we caught up with Sanchez to bring us up to speed and let us know what might be coming in his series.

Newsarama: Claudio, for those who haven’t been keeping up with Amory Wars, can you fill them in on some of the big moments that have happened so far and bring them back up to speed?

Claudio Sanchez: We’ve spent some time on the backstory events of (the last series) “The Second Stage Turbine Blade,” and are now well into the resulting current affairs of Heaven’s Fence.  Supreme Tri-Mage Wilhelm Ryan has total control over the Universe, ruling with no regard for life.  A rebellion has formed, fronted by Inferno and assisted by a group of winged beings known as the Prise, who go head to head with Ryan’s Red Army. Meanwhile, our lead character, Claudio, is struggling to find where he fits into the world around him now that his family is dead.  He’s recently learned he’s had a secret “babysitter” in the years since SSTB; a fallen member of the Prise, sent to watch over him.  We also just introduced a new player in Claudio’s life, a gambler called Al, who will turn out to be a bigger problem than anyone could imagine.

Amory WarsNrama: There’s been a lot going on with the character Claudio — so since you share his name, could you tell us where his head is at, at this point?

Sanchez: Before I wrote the parallel album for “In Keeping Secrets…,” the growth of the band was happening pretty quickly and really changing my life and comfort zone. Those feelings fueled the writing process for the record and this series. In the same way I was questioning my place in the world, the character Claudio is feeling very unsure of himself and always doubting the idea that he could be destined for anything other than mediocrity.

Nrama: In the most recent issue of the series, you gave us a bit of a doozy, story-wise, with the arrest of Wilhelm Ryan. I know you can’t give too much away, but what will this mean for the rest of the Keywork?

Sanchez: Well, obviously the rest of the Keywork is shocked and feeling uncertain how to proceed. It’s a similar situation to keeping a dog on a tight leash for years and suddenly letting them loose: The animal doesn’t know what to do with freedom. That said, as we’ve learned from Ryan in the past, he’s conniving and a forward thinker. He’s also incredibly patient when it comes to his goals, which you’ll see, makes him a good antagonist.

Nrama: Since you’ve got an entire universe to play with, what have been some of the creations that you’ve been most proud of here? Are there any new players that we should be keeping an eye out for?

Sanchez: It’s kind of a weird concept for me to feel proud of some creations more than others in the Universe, as I’m so close to it all. I love the process of developing new characters and thinking about the scope of a new planet or location within the story. That said, I do love my villains. Al the Killer is one of my favorites right now. Despite the fact that he’s a dangerous sociopath, he’s kind of likable. I’d watch out for him.

Nrama: Now, you’ve been working with Peter David for awhile now, and I wanted to ask, how has the collaboration evolved since the first issue?

Sanchez: Peter’s really been an asset this series. We got the collaboration thing down pretty quickly while working on the Year of the Black Rainbow prose novel together. He poses questions that I don’t think to ask myself sometimes and we’ll go back and forth for hours until we’ve answered them in the most entertaining way possible. The band even asked him to make an appearance our video for “Here we are Juggernaut.”

Nrama: And Chris Burnham. For you, what have you really dug about his style, and how has he upped his game over six issues?

Sanchez: I thought Chris was a good fit for the book because his style is really consistent and just stylized enough without losing the minutae within the panels. Chris never skimps on a page for the sake of saving time or meeting obligations and he remains an active part of the artwork creation even into colors and lettering.

Nrama: Finally, for those who still aren’t sure about the Amory Wars, what would you tell them to get them on board? Any moments you’re excited about that you can tease?

Sanchez: It’s hard for someone in my position, considering putting out a comic is the latest trend for anyone in the entertainment industry, even if they don’t care about the product. It can be difficult for some people in the comic world to get into the Amory Wars because the first thing they know is that I’m in a band, so they immediately discredit the book. But we’ve been publishing this title since 2004 and I’ve loved the medium since I could hold a book.

I really feel the series has something for everyone, even if science fiction is new to them. There are so many things effecting and tearing apart the planets of the Keywork in this conceptual universe, but it’s the smaller struggles, the choices the characters face that make them challenge their morals, fight wars, fall in love and question faith that really make for a good story. As far as a teaser … In the upcoming issues, we’re going to see a pretty shocking transformation within House Atlantic, Ryan’s residence.

original location: http://www.newsarama.com/comics/amory-wars-claudio-sanchez-101202.html

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Project Intro: DriftDivision

DriftDivision EPDriftDivision is the end of silence brought on by Matchbook Romance’s departure from the music scene.  It is the heart and soul of Poughkeepsie, NY’s Andrew Jordan with help from Jerk Magnet/Anadivine’s Justin Meyer as well as The Getaway/MBR’s Ryan Kienle.

The debut self-titled EP Continue reading

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Total Guitar Coheed And Cambria interview: guitarists talk UK tour

by James Uings.  Posted November 19, 2010.

Prog rocking guitarists on touring, head injuries and, err, botany

Claudio Sanchez © RD / Kabik /Retna Ltd./CorbisCoheed And Cambria are a hard-working band who once learned and performed four albums in four days. We caught up with guitarists Travis Stever and Claudio Sanchez on their UK tour supporting Deftones to get the inside scoop on what their life is like on the road.

How do you prepare for a tour?

Travis: “We’ve been on tour non-stop for the last two or three months. I don’t really unpack, just do my laundry and throw it in the same bag!”

Claudio: “I make sure my wife and family are all set before I leave. I get my stuff together and make sure I have everything I need: my iPad and my recording hardware.”

Do you write much on the road?

Claudio: “I try to. I think the most successful stuff is probably written at home. It’s more like throwing ideas around on the tour rather than actual compositions.”

How much do you rehearse before you leave?

Travis: “We did a few rehearsals after recording to run through the new songs. We’ve had rehearsals between a couple of the tours if we want to add songs, but generally we’ll go over them in soundcheck.”

What about pre-show routines – do you have any?

Travis: “I pace. I’m excited to play and I’m not very good at waiting.”

Claudio: “I do vocal warm-ups. I might play a few chords and riffs on the guitar, but the focus is my vocals.”

What happens with your backline? Do you bring it over for the UK shows?

Travis: “I’m using the Mesa/Boogie Mark Five, which I’m really excited about. The Mark Five kept blowing a fuse and I didn’t have a backup for it so I had to use a [Mesa/Boogie] Electra Dyne. It’s a great head, but it was missing what I was getting from the Mark Five. If I’d been in America, I could have got a replacement pretty quickly. So coming over here can be tough in that sense.”

What other technical challenges do you face?

Travis: “I’m using my ‘B’ Rig effects, which I’m really getting used to. They don’t sound bad. It’s just a few pedals and my effects processor and I try to reproduce the sounds I get on my ‘A’ rig. It’s different, but it’s working.”

The right songs for the right job

Travis Stever © RD / Kabik /Retna Ltd./Corbis

How do you pick the songs that make your setlist?

Claudio: “It depends on the tour – who we’re playing with, whether we’re supporting or co-headlining. We go with whatever makes sense for the total package. We’re on tour with Deftones at the moment, so we’ll pick songs that that complement playing with them.”

Travis: “On a tour like this we stick to the same setlist because the majority of the people have never heard the band. On a headlining tour we’ll change the songs quite a bit and do songs that people haven’t heard in a while. We want people to say, ‘Oh, wow! I didn’t think they would pull that one out’.”

What are your favourite songs on this tour?

Travis: “If we do a headlining show it could be any song; on this tour it’s ‘Welcome Home’. At least half the crowd haven’t shaped their opinion on us yet, but because of the exposure [the song] gets from ‘Rock Band’, it registers with people so they get pretty amped up.”

Claudio: “It’s probably the more energetic tunes, because we’re getting near the end of the tour and I know that when I get home I’m going to relax, so I want to get everything out of me before the winter. If I had to pick a song I’d say ‘Welcome Home’, too.”

Are there any songs you’re bored of that you keep playing because the fans like them?

Claudio: “Yes and no. We have such a dense catalogue that we can leave things out for a little while and I think our fans will still be satisfied.”

Travis: “We’ve been playing ‘A Favor House Atlantic’ for years and we don’t play it begrudgingly. It’s not like, ‘Oh sh**, here it comes’. If you’re playing the same set for three months it might happen, but that’s why we mix it up.”

Staying faithful and plant science

Claudio Sanchez © RD / Kabik /Retna Ltd./Corbis

Your parts are close to the originals – do you ever vary them?

Claudio: “The original arrangements feel good, so we stick to them. I think that’s what most people want to see.”

Travis: “I have a ‘safe’ outlook when it comes to Coheed songs. They are what they are and my parts need to be that way to portray them live. There are a few songs where I play differently. On ‘Ten Speed (Of God’s Blood and Burial)’ I’ll put in little solo-y fills in the chorus and it definitely changes it.”

What’s the toughest song to play?

Claudio: “‘This Shattered Symphony’. There’s a lot percussive jumping around. It’s supposed to be choppy but it can get too washy if I’m not on top of it.”

What’s your favourite tour story so far?

Claudio: “We had just got in-ear monitors and they were really uncomfortable. I lost my balance and slammed my face into a monitor! I kept going, but I it made for a cool moment in the show.”

Travis: “When I got really loaded, I would claim I was a botanist. I would take the plants from the hotel and create a forest wonderland in my hotel room. I did an interview and said, ‘Some bands are anarchists, some are feminists… I’m a botanist’.”

Original Location: http://www.musicradar.com/totalguitar/coheed-and-cambria-interview-guitarists-talk-uk-tour-306303

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