Interview: The Word Alive’s Telle Smith Talks Hard Reset
“It’s like, “Hey, we can’t change or do anything about how you feel about the band for the last 15 years, but here’s what we’re doing now.”
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KC Blackwater: In Conversation With Tallulah Allen
The whole concept of KC Blackwater as a project is that I was just getting to the point where I was getting so angry and frustrated and annoyed at so many things that it was trying to make me kind of giggle a bit. Like that kind of post-anger laughter where it’s that little bit deranged. And like I said, I wanted to kind of put that essence into audio form. So that’s why the guitars sound so crazy and scratchy and chicken scratch kind of thing. And I wanted the bass lines to sound big and imposing, but in a slightly comedic way.
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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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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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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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