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It’s Just A Stage They’re Going Through: Punk Rock Factory Continues To Smash Expectations

We want it to be as true to the original as possible, but as different to the original as we could possibly make it. For example, in “How Far I’ll Go” from Moana, there’s a woodwind part in the chorus. It was just a little run of it at some point and our guitarist picked that out and he made like an entire riff around that part of the song. There’s only a tiny bit and most people wouldn’t even notice it’s there. Inour version, it’s there and it’s up front and center in the chorus. We’ll try and pick parts out and build on them.

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Posted On : Published By : Ally Rose
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Industry Spotlight: Alana Lopez

Some days especially when touring, it gets very difficult to get into a creative headspace. When it’s more difficult I just try my best to go out there and do something different. Being around people I like who play music that they love makes it so much easier for me to do my job. My biggest motivator is just being around people who are also doing what they love.

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Posted On : Published By : Ascribe Magazine
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Hell Finds You Everywhere: A Conversation With James Deberg of Thousand Below

The main difference between this record and the others is that we produced most of it. About two thirds of the record, we produced ourselves, like in our rooms. We’re all like self sufficient producers at home. We were able to just like, spend a lot of time just trying new things and you know, just like getting weird in the studio. When you’re not on someone else’s time, not paying a producer hourly or daily, when you’re not in that mode, you have a lot of time to just try weird things in your room and just be like, “oh, what if I did this? What if I did that?” You know, text the guys and be like, “how crazy would this be?” You’re not wasting anyone’s time, so it’s really nice.

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Posted On : Published By : Caitlyn McGonigal
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The New Generation of Hopeless Records

Hopeless Records has always been on the frontlines of the pop punk scene — and by extension, alternative culture as a whole. But as the alternative scene shifts, the faces of those in it begin to look diverse, and the music they want to make changes, how can labels and their artists ensure that they’re representative of the scene they speak for?

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Posted On : Published By : Ascribe Magazine
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The Tulsa Scene: Goodridge

It started out as just an exercise frank had made up and when he played it with the band we ended up writing out most of the song the day of. We really wanted to get “Caved” specifically released as we had sat on the song at that point for about a year, whereas “Shifting Boulders” gave a little more insight towards the sound from our new material so having both together let us show both of those sides.

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Posted On : Published By : Caitlyn McGonigal