***This article can be viewed in Issue 16 of Substream Magazine***

Returning from a South American tour with a new album ready to hit stores, Bless The Fall are no strangers to the studio or stage. Their upcoming release, Witness, will be their first from Fearless Records, and with new lead signer Beau Bokan. Hitting shelves on Oct 6, Witness features the song “God Wears Gucci,” which the band featured on their Myspace profile back in July. The track, says Bokan, “was just a funny play on words. The song is about people who try to make money off God’s name, and who think God is just a fashion, etc.”

Putting a great deal of time and energy into each track is what this five-piece band from Phoenix attempts to do when in the studio. “We poured our hearts into every song from the beginning to the end,” Bokan says about Witness. “A lot of bands will settle for writing filler songs to take up time, but we truly put just as much effort into each and every song.”

Bless The Fall’s inspiration comes from life experiences, relationships, and the struggles they have endured. But there is more to creating a musical masterpiece than just the content of the tracks. A hardworking and dedicated team is needed to provide strength in unity, as well as keeping the fans involved as much as possible. Bokan feels that Fearless has really stepped up to the plate.

“We had meetings with several labels before choosing [Fearless].” he explains. “We’re super confident that they will put 100 percent into making sure everyone knows about our band.”

Among a few international tours in the works, such as the UK and other European countries that are planned for December, the guys are also looking to travel to Canada and countries in Asia. Fans within the US can catch Bless The Fall on a co-headliner with Finch for the Atticus Tour, which Bokan is very excited about. “Being able to tour with a band like Finch who have been around forever and who a lot of us grew up listening to is pretty amazing,” he says. The diversity of the different bands on the package sparked his interest. “I’m stoked for Let’s Get It. I’m sure they’ll get the party started every night.”

While out in the crowd, fans will get to hear firsthand some tracks off the upcoming album. “We take great pride in our live show,” Bokan adds. “We practice constantly to make sure we’re hitting all the notes and harmonies that you would hear on our record.”

Expect to see a few positive changes as well. “We want everyone to witness a growing, changing, and eventually re-birthing of our band,” he says. “…From what it was into something new and beautiful.” Thus the title of the release, as well as the clever album artwork. Another change to be witnessed is the singer himself, who was added to the ensemble one year ago this month.

Bokan believes that it is their work ethic that sets the band apart from others in their genre. “A lot of bands lack in this area,” he explains. “They believe things should just be handed to them, when in fact you get what you put in. We work our asses off constantly.” The group hopes to reap the benefits of this hard work upon their upcoming worldwide tour schedule and the release of their much-anticipated album next month.

**This article can be viewed in Issue 16 of Substream Magazine**

Hitting the road on the Squash the Beef Tour and Atticus Tour this fall, Of Mice & Men are excited to get back on stage and give the fans what they deserve. Ever since this up-and-coming band has played their first show, the response from the masses has  singer Austin Carlile thrilled.

“I will never forget playing our two songs we have posted [on Myspace] and having the fans sing along to every word,” he says. “I’m just some kid from Ohio; we are in California and they know all the words!”

The five-piece ensemble, put together by Carlile (former Attack Attack vocalist) and bassist Jaxin Hall from New Zealand, is a recent addition to Rise Records and is recording a debut album as we speak. According to Carlile, their experience in the studio thus far has been a struggle, but nothing short of an adventure.

“From having to take a week off, to the water being shut off, to having no air conditioning… it’s been something like a camping trip.” However, the guys are making the most of it while they can.

Along with producer Joey Sturgis at Foundation Studios, the band is laying every instrument down and tracking vocals randomly. Carlile says a few surprises can be expected once the album is released. Above all, fans can look forward to an up-front message and upbeat sound. “We wanted to make something fun to listen to and something that didn’t beat around the bush with the points we are trying to get across.”

Carlile and Hall teamed up with drummer Tino Arteaga, and guitarists Phil Manansala and Shayley Bourget to form the band that Carlile claims is difficult to classify into one specific genre.

“We aren’t hardcore or metal…and screamo is an overused term already,” he says. “I would say we are different from any band because of how much we all want this.”

In previous bands and with this new project, the five members have been promoting, selling tickets at malls, handing out demo cds, and paying their dues for years. The payoff is this opportunity to get a taste of what they have been working hard to accomplish. “So, what sets us aside from other bands? Heart.” says Carlile.

With the secured backing support of big operations such as Rise Records and The Artery Foundation just after the first two songs were released on Myspace, Of Mice & Men have been anxious to line up tour after tour and do what they love most. “We are honestly blessed with this chance, and just want to show everyone how much we want this and that we are here to stay,” says Carlile. The band will be on the road without a break until late December, and have plans beyond then as well.

The opportunity to tour with bands such as Dance Gavin Dance and Emarosa has given the group a boost onto the scene at an early stage. “The Agency and The Artery crew did an exceptional job at getting us off on a solid start,” the vocalist says. And when asked about the likelihood of a tour in the future with Attack Attack, Carlile simply replied: “I honestly would have no problem with it. Let’s do it.”

Band: Breathe Carolina
Album: Hello Fascination
Release Date: August 18, 2009
Label: Fearless
Rating: 2.5/5

As I do not typically support bands whose careers began with GarageBand and 10,000 daily Myspace plays, I am pleased with the level of experimentation, “musicianship,” and effort that Kyle Even and David Schmitt put into their sophomore album. Now, that is assuming they personally had anything to do with it. As their first album on Fearless Records, Hello Fascination nearly meets the hype that surrounded its release. While their previous tracks were seen as thoughtless and sexually-overdosed electronic songs laced with cheesy vocoder effects and unnecessary screaming, this new album has a small dose of what the others have lacked: substance.

In a world where three girls bopping around on stage wearing next to nothing, while lip syncing to tracks on their iPod can be called a “band,” it is difficult to excel in this genre without being considered fake. Though many were skeptical about Breathe Carolina when they first released Gossip in 2007, I have a feeling this album will receive a more thoughtful assessment. Adding actual instruments was a wise decision to break away from the trend and prove that the duo is not just banking on a marketing fad. This can also be seen through the lyrics, which, for once are not solely about wanting, witnessing, or having sex.

The opening track, “Hello Fascination,” starts off a bit Marilyn Manson-ish, but begins to make more sense when the first verse kicks in. With lyrics that anyone in the public eye could appreciate: “here’s to you- criticize, my darlings. Are you satisfied?” David expresses, sans vocal effects, that he acknowledges people are listening and analyzing the band’s every move. The instrumental and digital complexity of this track, along with others such as “Welcome to Savannah,” prove that the two have more up their sleeves than just brainless dance screamo. 

Tracks “I’m The Type Of Person To Take Things Personal,” and “Take Me To Infinity” flow together seamlessly, and are each valuable songs to the album. Both begin like classic electronic tracks with fast-paced dance beats and synth overtones, but with clever hooks and gripping vocal melodies. While “Dressed Up To Undress” adds a hint of pop to the mix with higher pitched vocals and a simple piano melody, it is by no means a childish take on an upbeat dance number. Albeit annoying, the sexual connotation theme is synonymous with Breathe Carolina’s overall sound. “I.D.G.A.F.” further supports that assessment. 

Much to my surprise, I enjoyed the first half of the album. However, 13 tracks is a bit of an overkill with this genre of music, and it lacks cohesiveness. For example, “Tripped And Fell In Portland,” is much too nu-metal for its own good. Although it failed tremendously, I can see what they were attempting: to reach out to their post-hardcore roots and explore a more instrumental sound. 

With that being said, I give Hello Fascination an “A” for effort, but a “C” overall. Already established Breathe Carolina fans will buy into it, sure. However, even with the provided ability to attract all the critics and skeptics, this record failed to step up to the challenge and likely won’t win over a new fan base. But hey guys, pat yourselves on the back for attempting to be “real” musicians. Just don’t expect much more than a bit of glorifying praise from teen scene girls while their boyfriends roll their eyes. You should be used to it by now.

Band: Cobra Starship

Album: Hot Mess

Label: Decaydance/Fueled by Ramen

Release: August 11, 2009

Rating: 2.5/5

With as much promotion as this album has received since the May release of “Good Girls Go Bad,” I expected a lot more from Gabe Saporta & Co. From advertisements to MTV plugs and the release of a music video, Hot Mess has been causing quite a stir. While it is known that there is no such thing as bad press, there is such thing as bad music. 

Hyped up by the band members, Decaydance, Fueled by Ramen, and you know, that one chick from Gossip Girl, Cobra Starship’s new album has fallen short of its expectations. While fanning myself at Warped Tour with a cardboard cutout of Hot Mess’ album art, I wondered if this was Gabe Saporta’s plan all along… or if this was one of those things that just happens. His career has been on a steady decline into the world of neon plastic sunglasses and electro-pop nightmares since Cobra’s first album. With tracks that are beyond dull, and a few that cause me to actually shudder in disgust, Hot Mess has done one thing right: stayed true to its name. 

“Nice Guys Finish Last” is not just the worst song on the album, but quite possibly the worst song I have ever heard. The simplistic radio-pop beat, boring melodies and brainless lyrics are almost as nauseating as the female vocals. It would have done better buried further in the CD as the sixth or seventh track. Songs like “Pete Wentz Is The Only Reason We’re Famous” and “Fold Your Hands Child” instantly fade into background music after the first 30 seconds. “Wet Hot American Summer” could be tolerated with its catchy combination of retro synth sounds and drum beats, but I get lost in the cheesy chorus and bridge. Lyrically, the 11 tracks give the same pretentious message: Gabe Saporta is a bad boy with an attitude who will make you “move like you’re gonna die soon”… whatever that means.

A few of the songs worth listening to on this album include “Good Girls Go Bad” for its catchiness and memorable chorus. While Leighton Meester probably shouldn’t pursue a singing career, I will hand it to Cobra for scoring and executing that A-list marketing tactic. I do enjoy the overall liveliness and upbeat tone of “You’re Not In On The Joke,” simply for the fact that it stays true to Cobra Starship’s sound. The entire first verse and chorus display creative melodies and vocal tonality, which carries throughout the track until the energetic screaming in the end. Besides these two tracks, however, it is safe to say that this Cobra album fails to be a guilty pleasure for me. Shut up.

While there isn’t much to boast about in the realm of instrumental talent and creativity, let it be known that Saporta’s voice and tone makes Hot Mess bearable at best. That should be expected from someone with a career such as his, though. The same goes for the production value, which I attribute as merely “noteworthy.” However, only perfection should be expected from such names as S*A*M and Sluggo, Patrick Stump, Kevin Rudolf, and Benny Blanco. Sadly, this list of cool brags managed to produce something good… but not great. And I want to know who paid MTV reviewer James Montgomery to deem Hot Mess Cobra’s “most brilliant album.” I’d say it’s more like falling asleep on a train to Midtown, missing my stop, and ending up in a place where the girls are bad, the guys all brag, and Saporta’s v-necks are deeper than his lyrics. 

Every year I tell myself that this will be the last… Well, I said it again.

Van’s Warped Tour turned 15 this year, and gave me a lot to blog about. I have been an attendee for roughly 8 of those many precious years, and never have I had so much fun while having such a terrible time all at once.

Amidst the sea of awful tattoos, sunburns, and facial piercings, I herded with the other scenesters and punk kids from stage to stage, while gripping my $5 bottle of water that seemed to run dry much too fast.

Passing through crowds of people, I experienced the ever familiar sensation of being much too hot and sweaty, pissed off, and mildly excited to stand for hours at a time while trying to avoid using the portable toilets as much as humanly possible.

Throughout the course of the day, I made quite a few observations that brought new ideas to my attention, and also gave me deja vu of years past.

First of all, the crowd never changes: young girls of a questionable age wearing nothing but a bikini top and boy-short bottoms, flirting with every band guy, guitar tech, and merch dude alike; bro-moshers, in khaki shorts and sans t-shirts, with some sort of writing on their chests in permanent ink, jumping and pushing one another to the sounds of punk rock and/or ska music; little scened-out teenagers traveling in groups of 3 and 4, anxiously wandering the grounds with a pen and digital camera seeking their favorite lead singer; emo boys that look barely old enough to be smoking that cigarette; the obvious musician appearing more groomed and less sweaty than everyone else, just emerging from the air-conditioned tour bus to walk around, showing off their laminate and freshly flat-ironed hair; boys and girls finger-blasting their sidekicks, tweeting and @replying anyone and everyone about the band they’re watching, or the hardly famous guitarist that just passed by…

I could go on for hours about the different breeds that attend the annual music fest, but I won’t waste your time. If you have ever been to one of the dozens upon dozens of tour dates in a city near you during the months of May-August, I’m sure you have witnessed all of that for yourself. Moreover, if you noticed a few major changes this year from that of previous years, you weren’t the only one.

Which brings me to my next point…
Kevin Lyman needs to step up his game. Seriously. Half of the bands booked to the smaller stages were unrecognizable to myself and others who are consistent with the music industry; they just flat-out sucked. On top of my complaints concerning poor booking, I noticed a decrease in the number of stages present at the festival. Aren’t there usually two main stages? And although the schedule ran until 8:30 PM, there was no “closing” band on the Vans Main Stage. That time slot was completely empty. Because of this fault, bands like Lights and A Day To Remember were playing on similar-sized stages. This made very little sense to me.
My immediate guess for the reason of this change was a lack of funds in our declining economy; however, water was still $5, and don’t even get me started on the price of other beverages. While a money deficiency is understandable, I cannot explain the lack of food, water, restroom facilities, sponsors’ tents, and the complete absence of trash cans! My final answer is: poor production, poor planning, and sub-par execution on the event day itself.

Now, I don’t know too much about past band drama with disputes over religious-connotaded music and how tastefully or poorly that was handled, but this year I did notice a bit of scrutiny against different genres of music. During the Millionaires’ set, I glanced out into the crowd and witnessed only a handful of spectators actually enjoying themselves and singing along. The rest were either making stink faces or throwing garbage at the stage. Among these stink faces (and I won’t name names) were the familiar faces of bands who were also on the tour. And you don’t need a spy kit to discover how widely this genre of music is hated among those musicians who play instruments and actually write and sing songs. I find diversity in booking bands to be a very mature and modern concept in the music industry today. Of course, without variety, we would all be listening to the same thing. However, when this tour extravaganza began in 1995, the bands were mostly punk and ska. Now we are seeing a melting pot of those plus pop-punk, post-hardcore, hip hop, electronica, screamo, pop-rock, and more. Maybe the reason for the decline in funds and popularity of Warped Tour is because the name has lost a face? Just a thought.

So, while I sit and wait for 12 months to pass as I debate on skipping out on next year’s Warped Tour, I will ice down my knees, even out my v-neck tan, and cross my fingers that this event improves. With that old and familiar anticipation losing its luster, the production crew and creative team needs to come up with a new twist to re-spark the interest of loyal Warped attendees. To be completely honest, I had to leave early this year because I was literally nauseous.

Hi! I am posting this blog for many specific reasons that I intend to share with you on a very honest and public basis, so pay close attention.

First of all, I sincerely apologize to anyone who has been looking forward to the release of Exposure Magazine. Due to complications beyond my control, Siobhan and I have decided to slow down with this project and see where the next few months will allow for our progress to proceed. More clearly stated: I have no idea when it will be launched. I have completed the majority of my written editorials about some very amazing musicians, and if I feel the need, I will post a few up here. We’ll see…

Secondly, I would also like to apologize to any friends, readers, and/or bands looking for publicity who have been contacting me and noticing my lack of a reply. I know excuses are a dime a dozen, and I promise you I wish I didn’t have to make them. I work more hours a week than humanly necessary, and at the end of the day I choose to do what I love: research, write about, manage, and avidly listen to music.

Which brings me to my next point-

I am officially doing publicity for this amazing band from Miami Florida

_

 And Then There Was You

Go check them out and support the cause! (You’re helping me out too, duh)

They are currently wrapping up a tour and preparing to release a new album in the fall, so look out for that as well.

Oh! and follow them on twitter- http://twitter.com/attwy

<3

Anyway, I apologize once again for my lack of responsiveness, availability, and just being a decent friend to some of you. It means a lot that you still stick around and read my blogs/invite me to review albums. Hopefully I will find the time and inspiration to post a good amount of new content soon, so don’t wander too far.

I love you all!

xo-

Becca