a.one:visited {color:#0000ff;} a.one:hover {color:#ff0000;} I (Carly Wedding) have written all of this unless it states otherwise.
Interviews // Reviews // Opinions
Originally posted on Black on the Canvas
Photos by Rachel Cooper
When I was in high school, my 11th grade English class read The Great Gatsby by F. Scott Fitzgerald. To prepare for the book and its themes, our teacher asked us what we thought the American Dream was. Most of my classmates offered stereotypical answers – going to college, owning a nice house, and starting a family. I felt that most of their answers were boring as hell, and it made me think that too many of my peers were overly concerned with abiding by society’s traditional standards. Fortunately, not all young people have that perspective on life. A Will Away’s Bliss is proof of that.
The Naugatuck, Connecticut act’s debut EP for Quiet Fire Media is truly a diamond in the coal mine of music. Though the oldest member is only 22, Bliss features introspective lyrics, innovative guitar licks, and complementary bass lines and drums – aspects that take some musicians years to master. From the Transit-like opener “Play Dead” to the reflective “Be Easy,” the EP remains a release that begs to be listened to in its entirety. In my years of listening to music, I have found that a band’s first couple releases contain a few gems here and there, with the rest of the songs being used as filler. That’s not the case with Bliss. Every song on this release is fantastic, and the only thing better than the songs is the passion each member has for them. I’m willing to bet that singer Matt Carlson went through boxes of green tea in the studio, because I can only imagine what his throat felt like after recording vocals – especially “Ten or Eleven” and “My Sitter,” which is also my favorite track from this five song release.
Lyric-wise, many of these songs reflect the pressures young people feel to submit themselves to the so-called American Dream. “Show me the reasons that I ought to be scared / With you as my sitter, I’m not going anywhere” is the epitome of what many college students feel when they re-evaluate the plans they’ve made for their future. “Put on your business clothes / Pretend that no one knows” is a grave reminder of what can happen when people pursue a career to make money, not to achieve self-actualization.
Instrumentally, these songs sound similar to Transit’s Young New England, The American Scene’s Safe For Me, and The Dangerous Summer’s War Paint. They combine aspects of mainstream alternative rock and Doghouse-brand indie rock to creative sounds that perfectly accentuate the lyrics. My only complaint is that the bass isn’t as prevalent as it could be, but in no way does that deter from how spectacular these songs are. It’s only the band’s second EP (save for their split with Buffalo, New York’s Head North), so there is still time for the bassist’s skills to shine on further releases.
With the talent these members possess combined with the expertise of the people behind Quiet Fire, there is no doubt in my mind that A Will Away are going to be the next big thing in the DIY pop punk and indie scene. Bliss drops via Quiet Fire on March 20, so do yourself a favor and preorder the EP.
Originally posted on Black on the Canvas
Photos by Taylor Rambo
Special thanks to David Brown for helping me with this.
A year ago, they were playing in suburban basements and sweaty DIY venues to roughly 20 people. Now, they’re playing sold-out shows across the country with You, Me, and Everyone We Know, Weatherbox, and Have Mercy. And with the release of their Bad Timing Records debut Bloodlines, it wouldn’t be a surprise if they’re headlining their own tours in 2016.
Buffalo, New York’s Head North have endured member changes in their short existence that have essentially rendered them a different band. So if you were expecting to hear feisty, angst-ridden punk songs like those on Arrows, stop. Instead, brace yourself for explosive and experimental alternative rock songs that employ a plethora of elements from the second half of the 20th century, including the Ozzy Osbourne era of Black Sabbath, the pre-Street Survivors years of Lynyrd Skynyrd, and the successful, yet destructive age of Guns N’ Roses. The band has also taken cues from their older peers in The Wonder Years, Balance and Composure, and tour mates Have Mercy. Bloodlines is comparable to the aforementioned band’s debut The Earth Pushed Back, so it’s not at all surprising that the two acts are spending the last of these winter months on the road together.
One of the best things about this EP is that none of the members purposely show off on it. They’re all extremely skilled instrumentalists, but they’re not arrogant about it. Singer and guitarist Brent Martone’s riff in the beginning of “Brave Hands” slithers straight to Benjamin Lieber’s drumming, building anticipation of his shouted “Believed I was made from frail and broken things,” but the dynamics soften shortly after. This gives Alex Matos’ bass and Ryan Harris’ guitar licks an opportunity to shine and complement one another. It also allows Head North to stand out from other bands in the east coast scene, as it showcases their ability to experiment and stray from the generic pop punk formula.
There’s a running joke among the widespread music scene that bassists are unnecessary or replaceable, but Matos’ skills prove that he is an asset to the band. Too often in pop punk, bass lines match the rhythm guitar exactly, but that’s not the case with Matos. His playing stands out amongst all of the tracks without overcompensating for the fact that he’s “just a bass player.” His lines are similar to those of Ian Farmer from Modern Baseball: creative and noticeable, but not excessive.
The same can be said about Lieber’s drumming. Lieber is talented enough to play complicated and extravagant things, but he’s smart enough to know not to. The fills created by the snares and toms are refreshing. They’re simple and controlled, not unnecessarily ostentatious. Such is the case in the sinister “The Path,” the Edgar Allan Poe-inspired track. After Martone yells “It’s just a stranger and nothing more” for the final time in the intro, Lieber could have easily channeled his inner Keith Moon and pounded on his kit for a good thirty seconds, but he recognizes the importance of simplicity in music. He is the one who plays the instrument, not the other way around.
“Windowless” serves as an appropriate closer to the EP. Structurally, it’s similar to “Closure” by The Story So Far, but it doesn’t sound like it’s copying the Walnut Creek band’s track. “Windowless” is catchy and explosive, and it will definitely incite mosh pits at the band’s future shows. The song closes with the line “I want to feel whole again,” which is a perfect lyric for an EP that wholly encompasses the band’s abilities.
In an interview prior to the release of Bloodlines, Martone said that the band is super fortunate for the opportunities and experiences they’ve had through their music. Between the perfection that is this EP and the U.S. tour with Have Mercy, Head North are destined to achieve levels they never thought possible.
Originally posted on Black on the Canvas
Photos by Jon George and Janelle Maree
St. Mary’s County, Maryland has a population of only 109,000 people, which is pretty small compared to Baltimore County, Prince George’s County, or Montgomery County. When you live in a county where everyone has heard your name, it’s hard to go unnoticed. Especially if you’re a musician. Such was the case for Sean McCamman and Daniel Thompson of My Heart, My Anchor.
McCamman and Thompson owe their comradeship to the metal and pop punk bands they played in when they were teenagers. In 2009, their respective bands, Well I’ll Be Damned and The Varsity Letter, played a show at the Good Samaritan Lutheran Church in Lexington Park, Maryland. It was the first time the two had ever met, marking the beginning of a beautiful friendship.
“I’ve been writing and playing metal music since I was 15 years old, but I’ve always enjoyed such simple and softer music,” McCamman explained. “About six years ago, I was listening to a lot of Secondhand Serenade, The Scene Aesthetic, and The Fray. I bought myself an acoustic guitar and learned a few of my favorite songs. I came up with some of my own stuff. That’s when I started toying with the idea of starting an acoustic band.”
“Sean told me he had been working on acoustic songs, so he asked me to listen to them and see how I liked it,” Thompson added. “I loved it, and I knew I wanted to be involved.”
The two began learning songs and writing their own material. McCamman wrote the music while Thompson handled the lyrics and vocal parts. Once they started practicing more, they knew they were onto something. And thus, the band was born. The duo played one show under the name The Secret Success, but neither McCamman nor Thompson cared for the moniker. They decided to name the band My Heart, My Anchor in honor of Thompson’s father, who passed away when Thompson was a teenager.
“The night that my father passed away, the first song I listened to was ‘You Be the Anchor That Keeps My Feet on the Ground, I’ll Be the Wings That Keep Your Heart in the Clouds’ by Mayday Parade. That song has meant a lot to me since that day,” Thompson said. “We were looking for a new band name right around that time. I wanted our name to be something to honor my father, so we chose My Heart, My Anchor.”
In 2010, McCamman and Thompson wanted a second guitarist to play leads over the rhythms. Thompson contacted Matt Jones who had previously played with him in The Varsity Letter. Thompson showed him the songs he and McCamman had been working on, and Jones agreed to join them. The trio recorded three songs with Nik Tyler and Shane Henderson, which helped them garner more attention. With their newfound popularity, the band was able to play shows opening for acts like Emarosa, The Chariot, and Memphis May Fire. It was then that they decided to recruit a drummer and bassist for a fuller sound at live shows.
“I hit up Tyler [Lagana] and Robbie [King],” Thompson explained. “I had played with them in a metal band called Vela Oh! Vela, and when the band disbanded, they were both looking for some new work. When I called them, they were down to try it out, and they fit perfectly.”
However, that line-up didn’t last for long. After MHMA headlined the local stage at the first annual Ice Jam Festival, Jones left the band for personal reasons. Anthony Niv replaced him, solidifying the lineup. Less than a year later, the band underwent another phase of member changes – this time in the form of a hiatus.
“We hit a plateau,” Thompson admitted. “We were playing the same four or five song set at each show. Anthony had some personal things going on and didn’t feel as though he could devote the time and dedication to the band, so he left. Tyler felt as though we were no longer progressing and sought out other promising projects. We had spent so many months trying to replace Matt, and then we needed to find a replacement lead guitarist and drummer as well. I honestly didn’t feel like starting over with new people again, so I decided to leave MHMA on the high note we reached at that point in our musical careers.”
While MHMA hadn’t officially broken up, they weren’t playing more than a handful of shows for a couple of years. Regardless, it’s always sad when a band breaks up or goes on hiatus, no matter the genre. When Blink-182 called it quits the first time, the world was heartbroken. After Fall Out Boy released a statement saying they would no longer be recording or touring, millions of emo kids cried. Brandon Flowers’ announcement that The Killers would be going on hiatus caused mainstream radio stations everywhere to mourn. Such is life.
The ironic part? All of those bands got back together. MHMA is no different.
After Thompson temporarily left MHMA, he joined The Lives To Come and moved to Baltimore. He played in the post-hardcore band for about two years, maintaining his friendship with McCamman the entire time. One night, the two discussed re-recording all of the band’s old songs for everyone who ever supported them. They agreed it was an idea they wanted to follow through on.
“When we decided to get back together, we wanted to stick to our roots and keep it an acoustic duo,” McCamman said. “So we started practicing again. It was like nothing had ever changed. We recorded all of our old songs and released it as our first full length album, Chapter One: An Introduction.”
The band received a plethora of positive feedback on Chapter One. They played a few local shows after that, and that’s when Thompson knew he wanted to share their music with as many people as he could. The only way to do that would be to tour as much as possible. However, McCamman had just started working full-time for the International Brotherhood of Electrical Workers, taken on the role of a father in his current relationship, and was playing in a cover band, S’Wild. With everything going on in his life, it wouldn’t be possible for him to tour. But McCamman was supportive of Thompson’s idea.
“Dan wanted to take the music on tour, but I couldn’t spare the time away from my schooling and work to do so,” McCamman said. “I’m proud of Dan for doing this and I’m more than happy for him.”
“I bought an acoustic guitar and had Sean teach me some of the songs,” Thompson explained. “It was enough for a set. I learned the rest of the songs by ear and then some. After I got back from tour with Jonny [of WATERMEDOWN], I started writing new material for an EP. I was 75% done with that by the time I went on tour with Casey Bolles.”
Thompson recorded the Closure EP by himself with Collin Dunn at Fly Honey Studios, making it the first release he’d ever had complete creative control over. Although McCamman wasn’t involved in it, he supported Thompson’s endeavors.
“This is his music too,” Thompson said. “Without him, MHMA wouldn’t exist, so there is no way I could do this project without him.”
McCamman and Thompson have been slowly but surely working on new music that will be a part of Chapter Two, their next full length album. Thompson will be going on a weekend tour in March in support of the Closure EP. For music and tour dates, visit their Facebook page.
Forever In My Songs #3: Love Your Friends, Die Laughing
by Carly Wedding
When I was in high school, you could have asked anyone who was even remotely familiar with me what my favorite band was, and you would get one of two answers: Man Overboard or The Wonder Years. The difference between those two bands is I still have expectations from The Wonder Years. After respectfully gaining entrance into the pop punk scene with The Upsides, The Wonder Years released not one, but two killer albums; albums exploring relevant and reflective topics like mental illnesses and social issues. Sometime between Get Stoked On It and Suburbia, Soupy fed his brain a strict diet of spinach, as his lyrics became much stronger. He abandoned telling tales of ninjas and Kool Aid and traded them for metaphors and allusions to beat poets. The band clearly matured in the past few years, which is something I can’t say for Man Overboard.
Before We Met and Real Talk are both nearly perfect albums. As a teenager, I found that they resonated with me. I thoroughly enjoyed The Human Highlight Reel, too. But hearing about perfect girls, shitty girls, and fantasy girls album after album gets old. Man Overboard found a formula that worked for them early in their career, but they never progressed from it. Save for a few serious songs – “Al Sharpton” and “Atlas” being two of their best – most of their tracks are about trivial relationships, which is something they should have retired after Real Talk. But the point of this isn’t to bash Man Overboard; rather, it’s the opposite.
Listening to Shore Acres Drive is like revisiting the early 2000s without having to be subjected to the awful fashion and awkward vernacular of the era. The three-piece Ithaca, New York act’s debut EP Middle of Nowhere brings to mind the sounds of bands from the early millennium like Weatherbox, The Early November, and Say Anything, all the while appealing to fans of bands currently dominating the indie punk scene, such as Modern Baseball and The Front Bottoms.
Originally a solo project of Charlie Fraioli, the singer/songwriter said that after playing acoustic for a while, he wanted the songs to be played with a full band. He enlisted in the help of drummer Jake Burchard and bassist James Manton to transform Shore Acres Drive from an acoustic project to a three-piece.
“I met James through his solo folk punk project, Participation Trophy, and I asked him to play bass for an upcoming show if I could find a drummer,” Fraioli explained. “I honestly didn’t expect to find someone on such short notice, but a few weeks before the show someone gave me Jake’s number. I basically called him up and asked him if he’d play the show with us, even though he had no idea who I was. But once we were all in a room together, everything just clicked.”
It’s safe to say that the young musicians have benefited from the local scene. Not only has it been crucial for Shore Acres Drive, but for other musicians, too. The band agreed that the city’s DIY music scene is supportive, making it easy for bands to promote their music by playing shows.
“There’s a non-profit here called Ithaca Underground that organizes 60+ all-ages shows a year, and it creates so many opportunities for local artists,” Fraioli said. “I mean, they let me play my first solo show even though I’d never played a single song outside of my bedroom. A month later, I played a show opening for Old Gray. These are the kinds of things that Ithaca Underground makes possible.”
But for a scene to be supportive, musicians have to exist in the first place. Ithaca has hosted a lot of talented, hardworking local and regional bands like Del Paxton, Yakbak, Krill, The Hotelier, Sorority Noise, Deerhoof, Man Man, and King Sized Pegasus. This scene adds another layer of inspiration to the members of Shore Acres Drive’s individual influences. Fraioli was originally inspired to start writing music because of bands like Tigers Jaw and Bayside, but the addition of Burchard and Manton has brought harder influences to the drawing board.
“I’m inspired by a lot of stuff musically, but the stuff most relevant to this project is 1990s emo and post-hardcore bands,” explained Burchard. “I listen to a lot of Mineral and Sunny Day Real Estate, and it’s evident in the new songs.”
“Yeah, I’m from Syracuse,” Manton added, “which definitely explains my strong influences from hardcore and post-hardcore music.”
With Burchard hailing from Boston and Fraioli originating from Westchester, NY, crossing paths in Ithaca has put the members in an ideal scenario, allowing them to bring unique musical influences to the table. According to Burchard, this melting pot of influences can definitely be heard in the band’s newer songs, which he says have a “1990s emo vibe.”
“As opposed to the older songs I wrote, the new stuff we’ve been writing has been a collaborative effort,” Fraioli added. “The older songs were acoustic tracks I wrote that eventually evolved into full band songs, but everyone has equal input in these new songs. It’s a very different process from what I’m used to, which I think is a good thing.”
With the talent and effort the members possess, it’s only a matter of time before Shore Acres Drive is a name recognized outside of Ithaca. For more on the band, visit their Facebook page.
The weatherman says that when those of us on the southern mid-Atlantic coast wake up tomorrow, we can expect to see a dust-like layer of snow on the ground. I hope he’s wrong and it accumulates like hell so I don’t have to wake up at 8:30 for class. But realistically, it won’t happen. Wishful thinking has never seemed to work for me. Regardless, this rumored precipitation has led me to the conclusion that there is no time more appropriate than now to write about “It’s Cold Out Here” by Modern Baseball.
Don't Keep the Scrapbook Minds of Head North to Yourself
Although the band has existed for less than two years, Buffalo, NY’s Head North have already made quite a dent in the cheese pizza known as the pop punk world. In December 2014, the band signed to Bad Timing Records, the label responsible for putting out music by Knuckle Puck, Sorority Noise, Somos, and Mansions. Later that month, they played the Glamour Kills Holiday Show alongside Light Years, State Champs, The Wonder Years, Man Overboard, and Transit, the band whose song “Please Head North” is responsible for the young act’s namesake. In the spring of 2015, Head North will be touring with California veterans Weatherbox as well as Baltimore-bred Have Mercy and You, Me, and Everyone We Know.
It’s clear to see that the band are quickly gaining popularity and have achieved more in two years than some bands achieve in a lifetime. But guitarist and singer Brent Martone doesn’t think of ‘success’ in terms of a label contract or full U.S. tour; instead, he gauges success by the experiences he’s had and friends he’s made through his band.
“We’re super fortunate for the opportunities we’ve had,” he explained. “It’s cool to have a team of people that work hard for our band, and it’s cool that anyone gives a shit about our music.”
There are indeed many people who give a shit about Head North’s music. The endless support from dedicated fans has helped Head North to play shows with big names like Ceremony, Citizen, Crime in Stereo, Handguns, and Real Friends. But it’s not just the loyal fans that have been there for them; Martone says his family has encouraged him to pursue his dream nearly every step of the way.
“I knew from the first time I picked up a guitar that I wanted to make music,” he explained. “I know that sounds lame, but that’s how it went. I’m lucky enough to have a super supportive mom, stepdad, and other family members who – with some convincing – made it possible for me and my band to tour.”
But there have been various member changes throughout Head North’s short life, resulting in a much different sound. Before the current lineup of Martone, guitarist Ryan Harris, bassist Alex Matos, and drummer Ben Lieber was solidified, Head North was essentially a different band.
“When Head North started, it was me and a bunch of my friends from high school who never really took it that seriously. But after I brought up the idea of hitting the road after high school, they all decided to give it a shot,” he explained. “But it wasn’t for them. At the time I was really bitter, but I’ve since gotten over it.”
To quote Marilyn Monroe, Martone said the situation made him realize that everything happens for a reason.
“I’m much happier creatively making the music we now make as Head North,” he said. “I recently started talking to the old guys again and I’m happy about it. They’re all happy doing their own thing, which is great.”
With the talent, positivity, and dedication that the young men of Head North possess, their future is looking even brighter than the smile on 1990s kids’ faces when they learned General Mills was reintroducing their French Toast Crunch cereal. For more on the band’s music, news, and upcoming shows, visit their Facebook page.
Photos by Rachel Cooper
Reposted from Black on the Canvas
Members of Head North and Maryland photographer and videographer Rachel Cooper have started Quiet Fire Media, a combination record label and media company. The goal is creating a new wave of music culture that gives both artists and fans what they want out of their musical experience. The first two artists to be signed are A Will Away and WATERMEDOWN. You can watch an intro video below, along with viewing A Will Away’s new tour dates.
"We believe music is an essential part of creating a sense of community among people - it brought us together and provided us with clarity and direction as we explored our respective artistic outlets, and we want to bring that forward here. Our goal is to help artists we believe in create their best work, while providing listeners with quality content from the bands they love," said founder Brent Martone.
Established in 1927, La Plata High School was constructed to replace an elementary school of the same name that was destroyed by a tornado the year prior. The new school was built to house students in grades first through twelfth, making it Charles County’s only secondary school at the time, with the exception of Indian Head High School. That site was the home of La Plata High School for nearly 40 years.
In 1964, the school was relocated to a new building in a different part of town to accommodate its increasing level of students. La Plata High School remained there until the establishment of a middle school became necessary. When Milton M. Somers Middle School was founded in 1979, La Plata High School then moved again to its current location on Radio Station Road.
Throughout its existence, La Plata High School has served as a source of quality education for a number of notable alumni. Football player Matt Dyson was selected by the Oakland Raiders in the fifth round of the NFL Draft. Hall of famer Don Money played for the Philadelphia Phillies, the Milwaukee Brewers, and the Kintestu Buffaloes throughout his baseball career. The original lineup of Good Charlotte consisted of members who all met at that high school.
The point is that La Plata High School has quite a story. My story, on the other hand, didn’t begin until 81 years after the school was founded.
I started high school in 2008. Like most kids fresh out of middle school, I was awkward as hell. My friends were no different. Because of this, our friendships became stronger. This story in particular focuses on my good friend Emma.
Throughout our four years at La Plata High School – or prison, as it was referred to in “The Anthem” by Good Charlotte – Emma and I spent much of our time listening to music. I made her countless mix CDs throughout those four years, filled with tracks by Neon Trees, Brand New, Matt & Kim, Manchester Orchestra, and Something Corporate. Out of all of those bands, I think Emma would agree that we bonded over Something Corporate the most.
Centerfield Channels Inner 90s Emo Kid with Vacation EP
Photo by Chris Simms
Centerfield’s most recent release Vacation is like taking a trip down memory lane to a decade the band members were too young to appreciate at the time. The 90s influence resonates through the Baltimore band’s 5-song EP, taking cues from the likes of emo pioneers Sunny Day Real Estate, Texas is the Reason, and at times American Football. As of recent, this grungy alternative rock sound has been attempted by many, but few succeed. Centerfield is one of those few.
Opener “Port Royal” begins with a grungy guitar riff that could have easily been a bonus track from Pearl Jam’s Ten or an early version of “Possum Kingdom” by Toadies. Guitarist and singer William Teague seems to have mastered the technique of hushed singing, an element that many attempt but fall short of succeeding. Too often, the singing isn’t enunciated enough, or the music overshadows it, resulting in more noise than music. As the song progresses, Teague (who played rhythm and lead guitar on this release, prior to the addition of second guitarist Matt Allred) subtly introduces a lead that is undoubtedly influenced by Clarity-era Jimmy Eat World. It’s one of those leads that make everything feel important, like the lead in “Getting Sodas” by The World Is A Beautiful Place or “47” by Sunny Day Real Estate.
“Scotty Knows” maintains the dark mood of the previous track. This song is a bit more upbeat and groovy, despite its dark lyrics: “I tried so hard to put it out / But it only made things worse.” Mark Bessler’s drumming particularly stands out in the intro of the song, accentuating the lead guitar’s existential-sounding riff.
“Mid” is the appropriately titled half-marker of the release, and its lead guitar riff has the same power over the listener as it did in the previous two songs. It’s like the title track from Texas is the Reason’s Do You Know Who You Are? in that regard. A.J. Polesel’s bass kicks in, reiterating the idea that will eventually be introduced by Teague: “Waiting for nothing / Just darkness and silence.”
Bessler’s drumming asserts dominance in “The Money Riff,” waiting for the guitars to follow is lead. Lyrically, this track sounds like it could have been a lost recording from Title Fight’s Floral Green sessions: “Complacently waiting / Content with nothing.” The dynamics rotate between crescendo and decrescendo, possible serving as a symbol for the struggles of coping with mental illness.
Instrumentally, “Hyrule” is the happiest sounding on the EP, which contradicts Teague’s lyrics: “I’ve been sick so long / But I repressed it since I was young / It made me feel like a monster.” It’s similar to Daylight’s Jar album in that it’s fun to listen to, but the lyrics are anything but uplifting. The track closes out with a riff that leaves the listener asking, “Is that it?” It feels incomplete, but maybe that was the intention. Maybe they want the listener to ask themselves if their life is all they really want it to be.
Overall, Vacation is a hauntingly fantastic release from the now four-piece. It successfully recreates the Sub Pop sound without seeming like a forced effort of imitating 1994’s Diary. In the future, it would be a treat to hear the band further utilize their skills, perhaps with longer tracks, instrumental intermissions, and more slow songs to allow the listener to appreciate what a good emo band sounds like, all while nearly having an existential crisis.
Author's Note: This was originally published by Black on the Canvas.
Author's Note: This post was originally published by Black on the Canvas.
Author's Note #2: The article is old, thus the outdated tour poster. I just never got around to posting it here until now. Sorry.
Author's Note #3: All photos are by Janelle Maree. The tour flyer was designed by Rachel Cooper.
February 26, 2009. I’m sitting in the La Plata High School auditorium watching members of the student body display their talents in the annual variety show. One of these students entertains the audience with his interpretive dance piece, “The Evolution of a Caterpillar.” Four young men from the senior class cover “Bohemian Rhapsody” by Queen, a song ranked 166 on Rolling Stone’s list of 500 Greatest Songs of All Time. One of the school’s most well-known thespians performs a monologue from a popular Broadway musical. With the exception of the Queen cover, none of the performances appeal to me. Towards the end of the show, though, two tall, slim, clean-cut guys walk out with acoustic guitars and announce that they, too, are playing a cover.
“This is a song called ‘The Quiet Things That No One Ever Knows’ by Brand New,” the younger guy says.
I squint my eyes at the stage and realize I know that guy; he’s in my seventh period algebra class. I think to myself, “Damn, I didn’t think anyone at school had good taste in music.”
Fast forward to October 4, 2014. I’m standing amongst a crowd of people at the Broadberry in Richmond, VA. Everyone is anxiously waiting for the opening acts to play so the touring bands – Praise, True Love, Hostage Calm, You Blew It, and Citizen – can begin. The incredible part? That same kid who played the Brand New cover with his older brother in ninth grade is the local opener for this show.
“Hey everyone,” he announces to the crowd, the lights dimming. “I’m so honored to be here. My name is Jonny Mays, and this is my project WATERMEDOWN.”
“Yeah, Jonny!” I scream. I feel my heart rate increase. My eyes water slightly. It’s an understandable reaction. I mean, how often do you get to see a high school friend open for one of the biggest bands in the pop punk scene right now?
The purple and blue spotlights focus on the 20-year-old musician as he begins his set. I have a perfect view from where I’m standing in the crowd. I can see the sweat drip down his face as he screams “I will overcome this hell,” a lyric from “Cold Decembers.” I witness the veins nearly protrude from his neck while he hollers throughout “Nothing Yet,” a track from his most recent release, the four-song Perfect Is Pointless EP. His face softens as he transitions to “#2,” a song detailing the emotions that come with the reality of growing up. After his final piece, a new track entitled “God, I Found Hell,” Mays thanks the crowd once more, informing them that he has a merch table with cassettes and hand-burned CDs at the front of the venue. With that, he begins to pack his gear and exit the stage.
Jonny Mays, known by many as WATERMEDOWN, has gone from playing small, school-sponsored events to embarking on self-planned DIY tours. A junior at Virginia Commonwealth University, Mays has made quite a name for himself since he started the project his senior year of high school. But before there was WATERMEDOWN, which draws influences from the likes of Brand New, Taking Back Sunday, and Mansions, there was Collapse the Night.
“I started Collapse the Night towards the end of sophomore year,” he recalls, sitting across from me on the floor of his third-story Richmond apartment. “I had played a Tom Petty song at the talent show that year, and after that, my friend Jacob suggested we start playing music together.”
Although Mays' taste nowadays ranges from Tom Waits to Tancred, when he was 16 he had a fondness for what he calls 'dad bands.'
"I was really into Tool, Killswitch Engage, all those kinds of bands back in high school. But then I got into Four Year Strong, and that's what we wanted Collapse the Night to sound like.”
The needle on his living room record player stops tracing the grooves on the Free Throw LP. He flips it over and laughs at the thought of his the motley crew.
“God, Collapse the Night was such a cringy pop punk band.” He shudders at the thought of his previous endeavor, though it’s all in good humor. “We recorded all of our songs on a Rock Band mic. It sounded like complete shit.”
Despite a short-lived run of about two years, Collapse the Night was a household name in Mays’ hometown in Southern Maryland, an area about 45 minutes outside of Washington, D.C. The band frequently performed at churches, backyard festivals, and My Brother’s Place (MBP), an all-ages venue in Waldorf, MD.
Mays pauses to take a sip of his Gatorade and reminisce on the now-defunct venue. He smiles, declaring that “MBP was the best place ever.” He admits that, like many of his classmates, he spent much of his youth at the community center. Although MBP was a Southern Maryland venue, it had quite a track record of performers, including Good Charlotte, Wakefield, MxPx, Patent Pending, My American Heart, and I Am the Avalanche.
Mays credits MBP as being fundamental to his music career. “If it weren’t for MBP – all of the crazy good bands that came through there – I would probably still be playing shitty pop songs somewhere.”
A few less-than-impressive demos and t-shirt orders later, Collapse the Night slowly started to disband. “We all kind of saw it coming,” he explains. “There were a lot of member changes, and everyone started losing interest. I mean, it was just a high school band. It happens.”
In the midst of the breakup, Mays began writing songs that strayed from Collapse the Night’s formulaic pop punk style. Instead of continuing on under the moniker, Mays decided to bury the hatchet altogether and start an entirely new project: an indie/emo band that relied on exploring complex lyrics and vocal styles rather than four-chord progressions and stupidly memorable choruses.
That new project was WATERMEDOWN. Originally a full band, Mays mostly plays solo acoustic shows now, though the recorded music still incorporates all of the typical band instruments.
“It used to be me, my friend Corey on bass, and our friend Jed on drums,” he explains. “But after I graduated, my family moved to Sterling, VA. Corey was still in Southern Maryland, and Jed moved to Florida. I wanted to start touring, so it was just easier to make this a solo project.”
His family’s move played a large role in early WATERMEDOWN songs. Tracks like “The Phantasm,” “The Aftermath,” and “Fickle” were very much inspired by the abandonment of his old life.
“Those songs are definitely about moving,” he confirms, “but a lot of my earlier songs aren’t really about anybody.”
He shivers. His apartment is a bit chilly. He gets up to turn on the space heater, but continues talking. “I’ve gotten more personal in my newer songs, but they don’t reveal too much. I like to keep some things to myself.”
While the young business major fumbles with the heater, I use it as an opportunity to gaze at his apartment décor: an Into It. Over It. flag adjacent to his entranceway; a television area dedicated to 20th century Nintendo Entertainment Systems; and a Maryland state flag hanging proudly on the wall behind the futon. His one-room apartment is small, but it’s full of his charismatic personality.
Mays reclaims his spot on the floor. “So where were we?” he asks.
“Tell me about your first tour,” I suggest.
“Ah, my first tour.”
He describes to me his first tour, a weekend run of east coast shows that took place shortly after releasing the Accept/Except Yourself EP at the end of summer 2013. He reveals that it was his first experience playing out-of-town dates.
“I met the guys from Head North on my Pittsburgh stop,” he explains, adding that one of the members presented him with the opportunity to tour with their fellow musician friend, singer/songwriter Casey Bolles that winter. Mays, a man with no interest in slowing down, accepted the offer. During the months between, Mays recorded the Ghost Stories EP, a compilation of lo-fi demos.
“My first tour was cold,” he laughs. It’s a believable claim; the dates were mostly in the northeastern region of the country, with a few stops in Ohio and its bordering states. “But the Head North guys came and took care of us. They had been on tours before, so it was nice to have someone experienced around.”
Between tours, writing, and school, 2014 was a busy year for Mays. In 2014 alone, WATERMEDOWN played with well-known acts Koji, Have Mercy, Teen Suicide, Lost Years, and Front Porch Step, as well as hometown favorites Centerfield, Class Picture, and My Heart, My Anchor.
While 2014 is coming to an end, the rise of WATERMEDOWN is just beginning. Mays plans to self-release his first full length, Somewhere Sleepless, in early 2015. In addition, he and Rachel Cooper, the genius behind Somewhere Sessions, are embarking on a two-week tour at the beginning of January. Dates can be found on the flyer.
For more on Jonny Mays’ music projects, follow WATERMEDOWN on Facebook, Twitter, and Bandcamp.
2014 was a ridiculously exciting year for the pop punk community. Joyce Manor put out Never Hungover Again, the highly anticipated follow-up to 2012’s Of All Things I Will Soon Grow Tired. Clocking in at just 59 seconds short of twenty minutes, it was also their lengthiest effort to date. Earning favorable reviews on Pitchfork and The AV Club, Never Hungover Again helped Joyce Manor secure a spot on Rolling Stone’s 10 New Artist You Need to Know and in Urban Outfitters’ overpriced vinyl section.
Modern Baseball proved that emo wasn’t just a phase with You’re Gonna Miss It All. Sticking to their tried and tested formula of quirky, autobiographical lyrics about being a 21st century college student, Modern Baseball’s brand of indie rock-influenced pop punk won thousands of people over. Between their two headlining tours and a stint with The Wonder Years in the spring, the MoBo boys had played multiple sold-out venues by the end of the year.
Real Friends teamed up with Fearless Records to put out Maybe This Place is the Same and We’re Just Changing, a full-length packed with songs that further indicate how crucial it is that the members see an orthopedic doctor. The Hotel Year changed their name to The Hotelier, polished their sound, and reinvented themselves with Home, Like Noplace There Is. Basement reemerged from their two-year hiatus, surprised everyone with the three-song Further Sky EP, and traveled abroad for a short run in the United States.
2014 also saw fantastic releases from Fireworks, Forever Came Calling, Knuckle Puck, Tiny Moving Parts, and You Blew It. But while these more-established bands were getting much-deserved recognition, smaller bands were at work promoting fantastic albums of their own. If you find yourself itching to spin something other than You’re Gonna Miss It All for the thousandth time, which I too am guilty of, take the time to check out one of these five albums from the scene’s best up-and-coming artists.
Class Picture: Good Tunes, Good Vibes, and Good Guys
Author's Note: This interview was originally posted by Black on the Canvas.
Since its initial beginnings in the 1970s, pop punk has been criticized by people who find the genre to be boring, unoriginal, or common. But for every negative remark made by uninformed outsiders, there are bands like Class Picture to prove the scene to be otherwise.
When Class Picture was conceived in 2011, they stuck to a formula that consisted of aggressive singing, fast drum beats, and melodic guitar parts. But over a span of almost five years, singer Andrew Nichols, guitarists Nathan Gorey and Ethan Salem, bassist Jordan Mercer, and drummer Zac Buete came of age, which is something to be expected from a group of young college students. This maturation can be heard throughout the four releases in their discography.
“When the band started, we were all listening to a lot more pop punk than we are now,” Gorey explained. “Bands like The Wonder Years and Transit hit home – for me at least – and it felt like the music I wanted to write. But as we got older, the music we’ve written has been a reflection of our life experiences and ever-changing tastes in music. Basically, we went from trying to emulate bands we like to writing songs that speak to us.”
Photo by Ethan Hansen
Regardless of their tastes, the band has always had the intention of writing music that is honest and authentic. Gorey says he has always believed that others respond strongly to art that feels genuine and not fabricated. “The thing I’ve always been stoked on most about Class Picture is its ability to change, mature, and develop with us as we experience life within and outside the band,” he said.
As a result, the band has experimented, adding shoegaze, psychedelic, and lo-fi elements into their songs, while sticking to their hardcore and pop punk roots. 2013’s VIBE is fuzzy and grungy, yet retains the pace of their older EPs. VIBE sounds like the members of Such Gold wrote a record about a weekend spent in an upscale Vermont cabin in which they discussed their thoughts on life and listened to Whirr’s Pipe Dreams and Slowdive’s Just for a Day in the background.
This isn’t a bad thing, either. Class Picture seamlessly combines two ostensibly different styles of music to create truly original songs; songs that require talent, not a torrented copy of ProTools or beta version of Audacity. The guitar parts in the songs complement each other and aren’t just basic chord progressions overshadowed by distorted guitar riffs. The lyrics are autobiographical and meaningful, detailing feelings of anxiety, hopelessness, conflicted beliefs, and societal expectations.
The members have clearly developed and refined their skills since recording the Class Picture EP in 2012, which any smart young band should do. It’s healthy for bands to have a natural progression in their sound, and luckily the members of Class Picture learned that early in their career.
Over the past year and a half, the band has been working on their full-length, which will be self-produced and released in the spring. In the season following that, the band plans to embark on a U.S. tour.
For news on upcoming shows and releases, visit Class Picture on Facebook.
