Kelsea

Lauren

Shawn Harris - Bridget

Danielle - we miss you!
And this would be what happens when you give us a camera. There will be more to come later - don't you doubt it.

ashton

Experiencing many different genre stages but always staying true to the music that reflects their individual personalities, Ashton has arrived at their striking destination. From pop-punk to progressive indie-rock, this band has had many musical endeavors and continues to reinvigorate themselves as well as those who have followed their musical journey. The journey, thus far lasting six years, is not even close to ending. There is undoubtedly more in store for this talented indie outfit.

The name Ashton, hailing from a mutual liking of the unconventional name, was formed in 2000 with a slightly different line up and consisted of Vinnie Gravallese, Mike Mcanally, Steve Hugdal, and Eric Laster. The then four-piece band gradually evolved and adopted a pop punk sound. They started to diverge from this image when Kraig Morgan joined the line-up and Laster departed in 2003. Vinnie picked up backing vocals and Kraig began to play the bass and the band went to work on their debut release, “Pain hearts and Broken Pills EP” in May of 2004. The Ep was recorded by Rory Phillips who has gained fame from working with such band as The Higher, Name Taken, Recover, and At All Cost. The CD release show marked the end of one of Ashton’s periods of growth and the start of a hiatus and reworking of their sound.

To step back and take a critical look at your sound is a mature notion and a frightening action to undergo: a new sound, a new image, new audience, and a fresh batch of songs. The music was what was important to Ashton and they realized that they were not playing the music that made them happiest – fitting into a popular scene was not going to be the aim of their musical careers. They acknowledged this absence of truth and immediately began to write a record that reflected their interests. In a month, eight songs were written and six were chosen to be record two months later in February of 2006 by Andrew Eckis, the band’s close and long-term friend. The demos ended up being the precursor to their record.

The full-length record, to be produced by Greg Dawson (Moneen, The End, Alexis on Fire) from Brampton, Ontario’s BWC Studios, is projected to be completed in December of this year. Ashton has been busy as a self-sufficient four-piece, writing ten additional tracks, touring the west coast twice, and appearing in such renowned venues as The Knitting Factory and the House of Blues: Anaheim. After the release of the LP, the band plans on taking to the road for the full months of January and February of 2007 in support of the record.

Bands have to work hard to set themselves apart from the hordes of sound-alike bands that exist within the scene and Ashton is no stranger to that feat. They have scored spots on stage with Halifax, Yellowcard, Hellogoodbye, Steel Train, Mae, Tokyo Rose, Copeland, Park, Near Miss, Brandston, Grade, Scars of Tomorrow, and many other established touring acts. Their main influences, though somewhat obvious are namely: Park, At the Drive in,Rescue, Mock Orange, The Mars Volta, Moneen, Hot Rod Circuit, The Get Up Kids, Name Taken, to list a few of the bands that help to compliment their sound. The band has grown in ways too numerable to count, gaining the respect of many within the industry. Their dedication and passion are refreshing and a prominent aspect present in both their persona and their haunting melodies.

no one goes home

Craig Broombaugh, Vocals/Guitar/Keyboards, 21
Nick Stout, Bass/Vocals, 20
Jon Zink, Drums/Vocals/Programming, 19

You don’t cross paths with a band like No One Goes Home every day. They are talented, dedicated, and committed to making their dream work. Whatever it takes – and more – they will do: from leaving their hometown and succeeding in unfamiliar surroundings to embarking on a three month tour with only three days off. It may sound crazy and possibly a little unrealistic, but No One Goes Home is not letting anything impede their astounding process.

The name itself is fueled with the determination present in the band members: a moniker that states, according to Craig, “This is the last band I'm ever gonna be in, I have to make it work, no matter how hard things get, whether it be a bad show, a bad tour, or a bad record deal, we're in it till the end: 'No One Goes Home’” The band, rooted in a six year long friendship between Craig and Nick, adopted its current lineup in 2004. They attended the same high school and worked in the same establishment; Nick attended a great majority of Craig’s shows and even played live shows for one of the projects that led to the creation of No One Goes Home. Jon was the last piece of the puzzle to complete the band’s line-up after a successful audition in 2004.

Influences are important to a band’s structure – their variances culminating a musical outfit unique from the others over saturating the market, lining the shelves, and flooding the desks of A&R scouts. This trio is collectively influenced by The Beatles, Muse, Butch Walker, Less than Jake, Green Day, and many others that lie within the same vein. A listener can sense different aspects of these artists, but it is easy to set aside the qualities that are solely present in the music and being of No One Goes Home – the sincere quality of energy, clever but quirky lyrics, and the stylish fashion choices of the band members. The dyed hair that coordinates to their clothes and to each other makes it easy for them to stand out within a crowd – not that their personalities don’t already do so.

The eight-song EP distributed over ten thousand copies and has earned them a regular appearance on DJ Rossstar’s Punk Rock Show. Their list of achievements is long for a band not long involved in the industry with their fist full-length album dropping in January. The music scene is lacking a vibrancy that was once alive, but has been infiltrated with a focus on money and recognition. No One Goes Home seeks to restore the integrity within the scene. And, thus far, they have succeeded in doing so with their infectious poppy melodies and pop-punk anthems and their love for playing music.

bang!

Taste of Chaos can serve many purposes: as a musical showcase, as a good time for music fans, but most importantly it is an outlet for rock outfits of varying styles. Street Drum Corps has been able to turn a concert that doesn’t necessarily fit their profile into an outlet of publicity and creativity. The atmosphere differs from their residency at Magic Mountain. But as Bobby Alt says “they both inspire each other. We put this show together, we built this show at Six Flags Magic Mountain and we enhanced it for the Taste of Chaos Tour. We’re learning things that we can do to make the show bigger for Six Flags when we go back this summer and in the fall.” Learning is a huge aspect of this tour for the guys and Frank sees it as a way to expand their show and their impact upon the audience – at Taste of Chaos there are “video screens, electronics, backing”.

The name was originally formed as a title to encompass all the street drumming groups the members had formed over the years. Adam and Bobby, were “stoned on a couch in Venice Beach thinking of a name for our parent label for all the drum projects we had…We wanted something that could be the record label for all of them, in a sense. It ended up that we just decided to focus on the now and one group and we ended up with Street Drum Corps. We’re from the street because we were playing buckets and on the street. And the corps being the group of what we do and our friend made us a cool logo with the skull and some sticks. It stuck.” Even though it’s a simple and straightforward name, “people can’t get it right” and call them Steel Drum Choir, Drum Street Corps, Street Drum, and even transform corps to corpse – a bit disappointing. Theyre considering incorporating the original title of BANG into the name and show that their” BANG can bang all the other BANGS.”

The outfit started roughly two years ago. Frank jokes that he was originally a Chippendale in Vegas, met the guys on the side of the road and “got them jobs being Chippendales and then Johnny actually pimps us out.” As convincing as this might be and appealing – it’s not quite the way things happened. It started when Frank moved to LA and met both Bobby and Adam, who invited Frank to their own drum show and he said that “sure enough they were whipping out pots and pans and garbage cans… I was like this is pretty cool that you guys are doing this I’ve been doing it on the east coast, let’s just jam one day and see what happens.” The planned jam session lasted and hour in a Los Angeles junkyard and from there they produced a 3 – 5 minute piece that was distributed to theme parks. There was really no expectation of a response, but Magic Mountain hired the street drumming outfit and before they knew it they had gained the interest of Kevin Lyman and were featured at Warped Tour.

Warped Tour and Taste of Chaos provide a notably different lifestyle for the three members of Street Drum Corps: there’s touring involved, crew and managerial duties, and set organization. But they enjoy the change and as Adam offers, “the family environment.” Those involved are working together and “understand what the kids want to see.” It requires that all parties are on the same page in a sense in order for the tour to run successfully and be well-received. Adam is not thrilled with the showers, but Frank says “this luxurious compared to Warped Tour because at Warped Tour it’s all Port-o-Potties. Here they just have big locker rooms, so there are tons of bathrooms and everybody on the tour just comes in and we wash each other backs.” Doesn’t sound too bad – but it’s certainly not the comforts of home. The venues on the tour also take care of the bands coming in whether this extra help is needed or even wanted. “When you roll into these venues,” Bobby reports, “they have people that work here and they won’t let you touch your equipment.”

The music is what is important for all three members and the method in which they explore music suits their own creative expressions. Bobby comments that “it was just searching for something different. I had played drum set for fifteen years always dabbling with other percussive instruments…I started hitting garbage cans after seeing bands like STOMP and Blue Man.” Frank hopes that through Street Drum Corps he can “show that you can be a front man and there are other ways to be a front man besides just being the man in the back trying to get attention.” Within the Street Drum Corps there are no rules and they “can go from on style to another” on their record without sacrificing solidity. Adam wants to “get others to express it as well” and promote creativity within their fan base.

But music is not all the guys are concerned with: books, editing, tour manager duties, and other activities are pursued. Bobby’s favorite book is “a book called the Four Agreements…that’s the book that tells how you should be living.” Adam enjoy movies and does a lot of visual editing and “editing stuff for online.” Frank busies himself with the tour duties. There are only three people in the band and have a lot of work to do on their own before things run smoothly.

And things are running smoothly. With a new CD and DVD, a growing fan base, and the support of music moguls like Bert McCracken the sky’s the limit for Street Drum Corps. Check out their music on their myspace site where there are several tracks available to listen to (http://www.myspace.com/streetdrumcorps) or better yet check out a live show.
(pic credit: Lauren Napier)

the fire is still burning inside

A band that has changed their sound to an extreme degree over the years. A band that creates the music that resounds in their own souls unaltered by the music around them. A band that strives to be understood and truly appreciated and accepted. A band that yearns to be true to the music and treasure their chosen, or destined, profession. A band that represents the “passion that burns inside of all of us”; that represents a unique sound in an oversaturated music market; that represents an honest musical effort: AFI. The band’s name was always an acronym; the meaning now associated with the letters, a fire inside, was simply an answer to the fans’ indefatigable search for a deeper meaning. The initials have been rumored to stand for many monikers including: “Asking For It." and "Anthems For Insubordinates”, but “A Fire Inside” brings the most passion and recognition to the band.

Formed in between skate sessions out of boredom and need for a creative outlet, AFI has been inactive, production-wise, for about three years and fans were growing eager for a new release and a new anthem to blast from their speakers – or privately enjoy within their iPods. The band, frequently played on the radio, stands out in those electrical currents with music that provides a healthy addition to the scene. Radio typically plays generic, high-finance music, but AFI is given airtime solely on their merit, talent, and the quality of the music. There are many different ways to take pleasure in music but as long as the music is enjoyed nothing else matters. And AFI’s new album is surely destined to be enjoyed. Days after just releasing the new album, decemberunderground, on the much talked about date of 6-6-06, bassist Hunter Burgan took the time to answer a few questions addressing his music, the industry, The Despair Faction, and his personal take on the events surrounding the release of the album.

After a year of intense production, AFI’s seventh album has been released and gives a glance of a musical future filled with even more evolution, success, and genuine amazement. Decemberunderground, paired with the raw talent of the band and renowned producer Jerry Finn, creates a distinctly dynamic album that builds on its successful predecessor, Sing the Sorrow. The change from indie label to major representation can be full of obstacles. There are “theoretically” drawbacks and Hunter feared that they would go from being a “relatively big band on a small label to being quite the opposite.” The journey from indie to major reached its current end at Interscope records where “everyone knows their jobs” and is excited to help artists and use their own talents to benefits others.

Interscope has provided the band members with a positive experience and they have been “fortunate enough to grow between records.” One has to be true to oneself and stand out. There should be no imitation – “no bandwagons” because “if you do that people will realize that you are unique because you are yourselves.” And AFI has stayed true to their own personalities and in “every aspect of the career” they’ve been able to evolve, even if slowly. “It’s kept things new and exciting” when every aspect of an album cycle is different. The band chooses not to listen to others opinions and their fans accept their independence and allow AFI to exercise a great creative freedom.

The music industry poses many challenges and some bands are intimidated with the possibility of confrontation and failure - but not AFI. They have met every challenge with a hard-working attitude. The “hardest has been getting people to” believe in them as a band and “understand” what they’re trying to do and accomplish through their music. It “wasn’t too hard fortunately” because there was already a concerned and supportive fan base. But to prove themselves they “keep doing the same thing…persistence.” Persistence shows that AFI possesses a sense of caring for the scene. And caring equals dedication. A dedication that AFI has always promised to labels, the scene, and their fans.

Favorite tracks change almost as much as their sound. Hunter, at this point in time, has an affinity for the track “The Killing Lights” simply because it has a tendency to get stuck inside his head. Intoxicating rhythms, entrancing melodies, and poetic lyrics are what one will undoubtedly find on decemberunderground. Decemberunderground is “a solid album and doesn’t really repeat itself musically.” The strongly goth-influenced band still continues to reign in the oversaturated world of pop-punk with hard lead guitar riffs as demonstrated on the anthem, “Miss Murder.” But experimentation is not out of the range of the band’s agenda or ability for on “Love Like Winter” there are techno undertones that are present and successful in their musical execution. The brooding track, “37mm” even has a bit of a Depeche Mode vibe – not such an obvious pairing with front man Davey Havok.

The title, which happens to be relatively “self-explanatory”, represents not only a location but a time period as well. The fans, in the short time since the album’s release date, have reacted to the album with enthusiasm and acceptance. “Few people got the album before the release” and the reaction has been encouraging thus far: through face-to-face interaction, e-mails, and phone calls. But “the real test” is after they start playing shows because before an album is released there’s “not a chance to really talk about it.”

The reaction of the fans somewhat affects the records that the band produces. Hunter says, “we write music that we love to play and music that makes us happy in some way. But if it was just for us there would be no reason to release it or record. The fans have to be kept in mind.” The acknowledgement of fans in essential if a record is to be cherished and consumed; The Despair Faction, a devoted following of fans, is proof that the audience is allowed to play an integral part in the success of AFI: the interaction, the devotion, the love. AFI is only getting started – there will be much more musical ingenuity to come.

you have questions - they have answers

Dispersed across the carpet, bundled in travel-worn sleeping bags, and enraptured by life on the road, the band sleeps off the harsh labor of a day on tour and the beer that followed the set. Their lifestyle is a mystery to most, but an obvious necessity to others. Night after night they play a set to an audience – whether those in attendance are eager to hear the sounds of their guitars or are less than enthused. To me it’s inconceivable how one couldn’t consume the wailing guitars and crooning vocals with a hungry appetite. To me it’s inconceivable to even imagine not wanting to allow the well-written lyrics to enter my frame of mind. To me it is inconceivable to not want to witness The Panic Division take the stage.

Their full-length and most recent release, Versus, is an album that shows the confidence the band has within their sound. Though the sound of the eleven tracks has a tendency to meld together and make it seem as though The Panic Division has taken a safe route with their sound – the lyrics prove that they have not. Lyrical depth is an essential trait that many modern-day bands lack and hinders any serious reception within musical communities, but The Militia Group was wise in signing this band. Their lyrics span the expected such as heartbreak, but also include the rarely covered topics of social ailments, a more mature choice of subject matter.

To play to a venue in an unfamiliar area with a crowd who is unfamiliar with your music can be a very daunting task. To have the crowd stand back five feet from the stage - too removed to be bothered with actually reacting to the music. To look into the eyes of the crowd before the first note has even been strummed and register the indifference that is present in the mass of those in attendance. The Panic Division has dealt with all this and discards it as superficial information and observations – they are here to play be it at the Alley in Fullerton, CA or The White Rabbit in San Antonio, TX. They are on the stage to play to three people or to three hundred people. Numbers are unnecessary and inconsequential and the heart that goes into their performance reflects this. They thoroughly enjoy what they are doing and thrive to infect the audience with the same passion that they themselves possess.

The band hails from the humid state of Texas. Colton Holliday is credited with the founding of the band – comprised mainly of friends who like to join and share their music with those willing to listen. Although the line-up changes from time to time – drummers, and other members, coming and going – the fact remains that The Panic Division is astounding. The songwriting process for The Panic Division is different than that belonging to most bands. Starting as a prominently instrumental band, songs stem from looped samples and not song lyrics or short guitar riffs. The focus of the music is the music itself and not the distracters of lyrics. The music of The Panic Division speaks volumes without Colton uttering a word – his vocals only firming the jolting impact.

It’s useless to try and simplify the music of The Panic Division into the oversaturated genre of alternative rock. They exist outside the boundaries of a certain genre, of a certain title, of a certain label. The influences of the band span a range of electronic titles to those of the rock genre. This variety shows in the music – from older tracks to the newest material that has yet to be mastered. The eclectic mix of influences can be a deterrent to those not familiar with the unique instrumentation and is a relief to those burned out on a scene of musical clones. Their fans are dedicated – a result of the band’s own dedication. But the word still needs to be spread to those needing a positive escape, to those longing for a new addiction, to those searching for the “songs of a dead poet.”

warped tour...thoughts and secrets

For many, Warped Tour is a haven of eclectic musical genres, but for others it is an opportunity to share music with a larger audience. Some bands have been on the tour for many years in succession, while others have enjoyed the festivities from an audience member’s perspective and are now playing the stages their predecessors have previously graced. There are many views within Warped Tour – on religion, politics, musical influences, and the songwriting process – but the bands still manage to get along for the few months the tour is on the road. The best way to get a feel for the tour and the bands that take the stage, is to talk to each of them about their experiences and motivations.

Cartel’s, Will Pugh, sees Warped Tour as a place where “a lot of kids see you play” and you can gain “new fans and friends” that might not have listened to the music otherwise. Warped Tour offers an exposure that has few boundaries; whether you’re walking to the fragrant port-o-potties, wandering lost in a search for a band’s merch tent, or sitting in the man-made and ever fleeting shade, one is bound to hear music that catches one’s attention or perks one’s interest. Adam, bassist of The Academy Is, is even content if the crowd is “bored and wander over” to hear them play. Any exposure is better than not being on the tour and letting your music and fan base become stagnant. NOFX’s Fat Mike enjoys the tour even though his band is a consistent and respected Warped Tour fixture. But now that they know everyone better they “don’t have to wait in the foodline” and there is a steady group of people willing to play “poker every night.”

Playing Warped Tour is proof of growth and potential. It’s also a precursor to the growth of a band’s musical career. Cartel has recently been signed to Epic, a major record label, and feel relieved that “there are more records in stores” and just more financial backing from their contract-holders. The members of The Academy Is grew up going to Warped Tour and were pleased to watch bands perform such as Eminem and Black Eye Peas. The ability to grace that same stage leaves them feeling “happy and honored.” NOFX, one of the bands that has led others to aspire to play Warped Tour, regards the current line-ups as somewhat homogenous. Fat Mike states that “so many bands sound the same now I can’t even tell the difference…But it’s not like we’re super different than anyone else. We are more fun than any other band. We don’t really care about playing well or impressing people. We just like to have fun.” Having fun is an important aspect of the music industry that many forget about and are blinded by the prospects of making a paycheck with numerous zeros.

Major labels perpetuate this thought-process. While Cartel is happy on a major label, not all choose that route happily. Fat Mike feels that although major record labels are not “inherently evil” that they are still “a corporation” and are “there to make profit and that’s all.” Many bands agree with this viewpoint and look to smaller labels, though they have less money, to receive more personalized attention: a label that will work through the songwriting process with the band rather than repeatedly sending the members to the studio without guidance or structure.

Songwriting is a tedious process, but a process that every band goes through only using a different method. The Academy Is works around a formulated riff idea and plans it out from there. William Beckett, the lead singer, will work with the melody and the rest of the band takes “a part at a time.” While within the ranks of Cartel, Will will take a demo with the hooks and the chorus and the guitar riffs and then the band will arrange those pieces from there. It’s not a true Cartel song until everyone has “had their hands in the arrangement” and the “Cartel-ing” is finished. NOFX builds their songs around a message – a message of “tolerance” and “not taking yourself to seriously.” They hope to bring to the music scene a way for bands and kids alike to honestly express themselves in a musical manner.

Music does not saturate every aspect of the band’s lives while on Warped Tour as one might think. If given a nickel for every time an audience member said “Fuck Yeah” at a show, Fat Mike would buy a round of golf. Fat Mike plays golf once a week – “especially on Warped Tour.” Golf is apparently a shared hobby between bands on Warped Tour, as Cartel enjoys a round every once in a while as well. The Academy Is spends their time together – not only friends on stage but off stage as well. While on the West Coast, they enjoy the “best fast food” such as In N Out and Del Taco, which they deem as better than the “fast food on the east coast.”

Warped Tour is a place of development and of inspiration – both for the bands on tour and those in attendance. The tour serves as a way for new talent to be showcased and as a way for attendees to acquire a sense of the music scene. The tour has been both praised and criticized, but never fails to draw an eager and appreciative crowd. Warped Tour will be around as long as there are fans willing to flock to “too hot” locations and surf through sweaty crowds to see their favorite bands. It’s a necessary fixture within the music scene.
(pic credit: Lauren Napier)