Author: "EmilyCassel"

Oh, Internet. You just have no shortage of sass. Like the comment “I think All Time Low has this covered,” left by one snarky OurStage user on Stranger In Arms‘ song “It’s Been A Mess Since New Years.” Hey, we like All Time Low! If Stranger in Arms wanted to jack their sound, we wouldn’t be too upset. But the thing is, while this New York five-piece’s rowdy pop-punk is occasionally reminiscent of artists like ATL or Cartel, they set themselves apart with tight hooks and smart lyricism. So here’s a little breakdown of what you can expect from “It’s Been A Mess Since New Years.” You can decide for yourselves if it’s already been covered.

From the outset, it’s made clear that this song is one of betrayal. “Hey, what lies you telling now/And as they spill from your mouth/Do you feel it all the same?” The band further sets the scene with the lines, “Tonight is cold, and I’m a ghost/This lack of love inside won’t go/Oh, no.” Uh oh. Sounds like frontman Jarett Mittroni is about to tell us a sad story, and that becomes clearer in the song’s second stanza. “Time waits, impatient lovers stray/Lacking all the strength to break down barriers alike.” Ahh, so there it is. This is a song of straying lovers. But it sounds to us like “It’s Been A Mess Since New Years” isn’t about being betrayed by a girl. Instead, Mittroni sings “Now I compromise my morals for my goals.” Hold on there—is this a confession? It sure starts to sound like it, as he wraps up each chorus with a desperate, “It takes a lot to leave/and in my heart it does this evil/Honesty, forgive me.” We’re not sure, but despite the earlier accusations of lies it sounds like our narrator could be the cheater in this scenario.

The ambiguity of the song is almost a plus, because regardless of who cheated on whom, the important thing is that the themes of betrayal and forgiveness are delivered by Mittroni’s soaring, pitch-perfect voice and sandwiched between meaty guitars relentless cymbal crashes. You can check it out below, because  it’s good for a listen even if you aren’t too thrilled with its characters’ questionable morals.

Chances are, it’s been a few years since Sum 41 popped up on your radar. The four piece haven’t released a full-length since 2007, and few albums since 2001′s runaway success All Killer No Filler have managed to spawn catchy, radio-friendly rock hits like “In Too Deep” and “Fat Lip.” Or maybe you have been hearing Sum 41 and you just didn’t realize it—the once bratty pop punks have consistently developed a heavier and more mature sound that doesn’t sound much like their earlier work.

Either way, the Canadian rockers are back in action this spring. They have a new album, Screaming Bloody Murder, and a new outlook on what’s important to them. OurStage caught up with bassist Jason “Cone” McCaslin to talk about the evolution of the band, the struggles of putting together the new album and how Sum 41 doesn’t count on radio for their success.

OS: First, to clear up a mystery: why does everyone call you “Cone”?

CM: Umm, I mean it’s just one of those nicknames that I got in high school when I was fifteen or sixteen, something like that. It’s actually kind of a really stupid story, but I used to eat a lot of ice cream all the time. And so Deryck and all those guys—before I was even in Sum 41— they just started calling me Cone. And so when I joined Sum 41, they just kept on calling me Cone. Just one of those stupid high school things, really.

OS: Screaming Bloody Murder was originally supposed to be released in 2009, and you were only planning to release a few songs on an EP. What happened to change that?

CM: I guess the original idea was, Deryck had four or five songs written so I’d fly down to LA and we’d just kind of do these four or five songs that he had. We started talking about, “You know, maybe we should release an EP.” And then once they were recorded—and we kind of almost did fully record the EP except for mixing, really—we just decided that we liked the songs a lot. We started thinking about how EPs don’t really… they kind of go unnoticed. It’s just kind of a waste of time to do as an EP. So we decided that we really liked the songs and we didn’t want the songs to go unnoticed, and Deryck was writing a lot. It was like, “You know what? Let’s just wait and as you write some songs we’ll all fly down to LA and just record them as you have them.” That’s basically it.

OS: You guys had to pay for some of the cost of this album out of pocket—how did it get to that point?

CM: I guess we went over budget. I’m not really sure. We recorded the album, and then once it was kind of done we listened to it and we all decided we didn’t feel like it was complete. There was something missing about it. And Deryck was still writing songs, he was kind of writing songs all through the process of recording. He had these two songs, which are “Time for You to Go” and “Maybe You Don’t Want to Know,” and he said, “Yeah, I’ve got these two new songs. I think this could be the piece of the album that we’re missing.” So we went to the label and said, “We’ve got two more songs we want to record.” And to them, we were kind of done. They gave us all the money to record, and to them the album was done. So when we said there was two more songs we wanted to record, they said, “No. We’re not gonna pay for this.” And we just liked the two songs a lot, and we wanted them on the album, so we just said, “Okay fuck it. We’ll just pay for it then.”

OS: Deryck has given a few interviews regarding the new album where he seems to have a very “fuck what everyone thinks” attitude about whether or not people like the material. Do you feel the same way?

CM: No, I don’t know if it’s… we’ve talked about this many times, and when we talk about it as a band it’s not like we’re all, “Fuck everyone, we hate everyone.” We’re not bitter and jaded, we just feel like we have a real connection with our fans and we have a really strong fan base. So basically by saying that, we’re not really saying “Fuck you, fuck you.” We’re just saying if radio doesn’t play it, or if video channels don’t pick up our video, then it’s not the end of the world to us. Where ten years ago it was like, we were always told we had to be on the radio. Now it’s like yeah, it would be cool. We’d love to be on the radio. If our song gets played on the radio, we’re happy. We’re excited. But if it doesn’t happen we’re not pissed off and bummed out. We’re just like, “Okay, well fuck it.” We have a strong fan base, and people are still coming to our shows. We have a lot of fans around the world, and we still tour around the world playing really good shows…

Continue reading ‘Q&A With Sum 41′

If there’s one thing about the music industry that’s becoming increasingly common, it’s that no band breaks up forever. (In fact, OurStage even reported on that trend earlier this year. Just saying.) Which is why we weren’t exactly shocked last week when the Pixies—no stranger to reunions after breaking up in 1993 and touring together sporadically between 2004 and 2009—announced that the band might start working on a new record.

The band started dropping hints in an April 28 interview with Spinner. “That talk about making a record will be in the forefront next because it’ll be time, you know. It’ll be time,” said guitarist Joey Santiago. “We’ve definitely gelled as a unit and hopefully when we can all bury the hatchet—and we have—maybe we’ll go in there and hope for the best.” Santiago also revealed that U2’s famous frontman was part of the reason they considered recording a new album. “Bono even asked,” Santiago said. “He’s like, ‘Please make a record!’” Can’t argue with that!

In the wake of all the blog chatter and speculation, we’re left wondering if this forthcoming album is going to be as big for the Pixies as people think it is. “But Bono demanded it!” you’re saying. “The blogs are all aflutter with the news! How can this not be the biggest reunion since the most recent huge band reunion?” Unfortunately, it’s not always that easy for bands like this. There’s a strange dichotomy with blog buzz bands like the Pixies or Neutral Milk Hotel that have a cultishly loyal following but find themselves unable to translate that into mainstream success. Just because we music nerds like to blog excessively about them, that doesn’t always mean that their sales will match the hype.

The Pixies might have one advantage over all of the blog buzz BS, and that’s their fan base. The same alt-rock loving kids who jammed “Where is my Mind?” in the late ‘80s are now in their mid-thirties and forties, and they probably have a slightly steadier source of income than when they were selling ice cream over the summer at age fifteen. And bands like U2 and The Who have consistently demonstrated the importance of a fan demographic that has money to spend, selling out arenas and stadiums when they’re twenty years past their prime (at least). Fans who couldn’t afford their shows on a tight teenage budget can grab themselves some of the experience they missed out on growing up. There’s a definite benefit to having a following that still pays for music—and the Pixies have it.

Either way, this is sure to be a release for Pixies fans and music lovers alike to get excited about. And lest you forget how important the Pixies have been to those who followed or find yourself wondering why everyone’s making such a big deal about this, we’ve included a little playlist below filled with the bands who were inspired by the Boston-based rockers. Trust us, there are a lot of them, and they rule.

• We thought we heard a few million 13-year-olds shrieking this morning…
• New Gaga video! Jury’s still out on whether it’s more or less weird than “Born This Way.”
• Beyoncé! Where were you when we were in middle school?!
• Serious question: Is Jesse James the biggest asshole ever?
• Who’s coming to Australia with us?
• All you need to know about this band is that their name is “Cheeseburger.”

We’re willing to bet you’d like to have a shot at performing at an über-trendy Lucky Strike Lanes near you. We also think you’re probably down to win an all-expenses-paid trip to the beautiful islands of Turks & Caicos to perform for Olympian volleyball players and hundreds of guests at GOBeachfest, 2011. And what if you could get the full rock star treatment, all while supporting a noble cause? Sounds pretty great, huh?

Well, thanks to our friends at Rock-N-BowlA, we’re giving you a shot to do all of the above. This May, artists in the Houston, Miami, DC and Chicago regions have a chance to win by entering their best rock, soft rock, alternative, southern rock, modern rock, indie rock, singer-songwriter (male), singer-songwriter (female), pop or indie pop song. The Top 3 ranked artists in each of these channels will perform at their local Lucky Strike Lanes and gain exposure to fans and critics alike thanks to their rocking tunes and philanthropic mindset. Plus, the band who boasts the highest number of fans in their official OurStage Fan Club when the Rock-N-BowlA summer tour closes out this June will win the trip to Turks & Caicos to perform at GOBeachfest, 2011! It doesn’t get much better than that.

Fans, you’re covered too! All you have to do is judge for a chance to nab two free VIP passes to the Rock-N-BowlA event near you. Just lend us your opinions by May 31, 2011 and you’ll be automatically entered to win.

Ready to rock and bowl? We thought so! You can check out all the contest information on the official rules page.

Ah, May. The sun is out, the birds are singing and we find ourselves yearning for plucky acoustic tunes from sweet but sassy singer-songwriters. (That happens to everyone, right?) Luckily, we have Shining Rae and her summery track “Dreaming,” to both satisfy our craving and provide us with an anthem to help survive bad dates. Because what could make you feel better than hearing someone else’s terrible dating stories?

Shining Rae’s first date with this unnamed gentleman doesn’t go so well. He shows up with pink roses (typical) and our girl isn’t impressed. “I want more than your cheap thrill/Spare me with the silly frills/Impress me with originality.” Maybe you think she’s being demanding, but Rae isn’t totally heartless—she just knows what she wants! She even decides to give her guy another chance, but unfortunately date number 2 doesn’t go much better. “Next date you’re driving a CLK/You didn’t even open my door, that is not okay.” We have to side with Shining Rae—chivalry isn’t quite dead yet.

Of course, this mystery man does have a few redeeming qualities. “Your kiss, your hug, your smile/entertain me for a little while,” Rae sings. But alas, this relationship is not meant to be, and Shining Rae decides to let him down easy. “You’re not Mr. Right/So I’ve got to let you go.” We can’t fault her for kicking this guy to the curb, with that warm, sugary voice of hers it’s hard to imagine she would do anything without good reason. “A sweet girl with a heart of gold should be treated like the princess that she is,” Shining Rae states on her profile, and we couldn’t agree more. You go, girl!

Check out “Dreaming” below and unleash your inner diva.

The roaring vocals and ferocious riffs that populated Manchester Orchestra‘s sophomore album Mean Everything To Nothing earned the five piece both  fans and critical acclaim in 2009. Now, almost exactly two years later, the Atlanta-based rockers are back with Simple Math, an alternately hard-hitting and slow-burning record that’s as intricate and enjoyable as each of their previous releases. As anticipation of Simple Math continues to build, we sat down with bassist Jonathan Corley to talk about exploring new musical styles, the pressure of topping Mean Everything to Nothing and Kevin Devine‘s freestyle raps.

OS: You guys had a wildly successful album in 2009’s Mean Everything To Nothing—did you feel like that was looming over you as you worked on Simple Math?

JC: After METN’s success, there was certainly pressure to create something better. I don’t think it’s a bad thing though. That expectation didn’t seem as “looming” or daunting but, instead, forced innovation and required creativity. Simple Math moves in directions that we, as a band, have never been before. It reaches into a couple of sonic head spaces that I’m not sure our fans would expect from us. The success of previous albums challenges us to create something new.

OS: When we first heard about the upcoming album, it was tentatively titled “Let Go of Your Sorrowful Groaning” and you were demoing twenty-nine tracks. How many times did you completely revamp the record as you were working on it?

JC: “Let Go of Your Sorrowful Groaning” was certainly thrown around as a title during the early stages of the album. In fact, it is still a line in the second song of our record: “So let go of your sorrowful groaning/ Let go of the ones you admire/ It’s not like I was devious or boastful/ My arms waving, I’m saying goodbye“. The song “Simple Math” came together pretty immediately, and conceptually, it defines the record very well. We worked in different stages to demo most songs a couple of times before reworking them in studio. There was more time and effort poured into the creation of Simple Math than anything else we’ve released in the past.

OS: How does it feel that that the album is already being hailed as one of the most anticipated releases of 2011?

JC: I know that our entire band is more excited about this release than just about anything else. I’m honestly very proud of the album, and can’t wait for everyone to hear it.

OS: The title track is a far cry from what we heard on Like A Virgin Losing A Child. Have you consciously shifted your sound or has it been a natural progression?

JC: The shift occurred very naturally. Since METN, we have continued to grow as musicians and evolve as a band. Even the live shows indicate a change in the dynamic of some of our older songs.

OS: Your songs alternate between very gritty, hard-rock tracks and beautiful, orchestral arrangements. Is it tough to completely change gears like that while you’re recording?

JC: It wasn’t difficult to switch between recording strings and a “gritty” track. Each one of the songs on Simple Math feels fully realized. We bounced back and forth between Atlanta and Nashville to make the record but I’m not sure that it could have gone any better. The tracks with strings were incredibly fascinating to hear progress.

OS: Now that you’ve utilized an orchestra and a children’s choir, is there anything sonically that you haven’t tried yet and really want to work into your songs in the future?

JC: As we approach future albums, I can only hope that we’re doing something that hasn’t been heard before. It’s the only reason that I listen to new albums. The bands that I end up listening to the most have found a way to constantly surprise you with new material, something new.

OS: Do you have any plans to keep working on Bad Books—the collaboration with Kevin Devine?

JC: I can’t wait to work on a future Bad Books album. During the months that we put that together, I had more than a blast. Even the touring; we approached venues that I haven’t played in years and it truly made me appreciate a lot of things like many of the nights that moved forward with some sort of freestyle-rap. The recording process was pretty simple and seamless back at home. The next Bad Books release should be a whole lot of fun.

OS: What can you tell us about your co-headlining tour with Cage the Elephant? How did that come about?

JC: We’ve known the Cage guys for a couple of years and they’re great friends. I’m anticipating some really fun shows with them. We first met while touring with Silversun Pickups, and they have quickly become some of my favorite people from Nashville.

Don’t miss Manchester Orchestra on tour, and check out the video for “Simple Math” below!

Prince kicked off his 21-night tour of Los Angeles last week on Lopez Tonight, and along with discussions about “artichoke” being an excellent swear word and his love for tortilla chips, Prince told George that he wants copyright laws changed so that no one can record covers of his songs. Ever. Prince has always been pretty protective of his songs, fighting his label, YouTube, eBay and even his fans over what he considers his intellectual property. But we’re a little surprised that he’d want to go so far as to make covering his songs illegal. (We’re also surprised that people actually watch Lopez Tonight, but whatever.)

“My problem is when the industry covers the music,” Prince told Lopez. “There’s this thing called compulsory licensing law that allows artists through the record companies to take your music at will without your permission. And that doesn’t exist in any other art form, be it books, movies—There’s only one version of ‘Law & Order.’ There’s several versions of ‘Kiss’ and ‘Purple Rain’.”

There’s just one problem with that: Prince isn’t exactly right. Compulsory licensing does exist in other media, including television, and as Hollywood Reporter explains, there are plenty of “fair use” exceptions in literature and films as well.

Besides the questionable facts Prince uses in his explanation, we just don’t quite get where he’s coming from. Don’t get us wrong—Prince is a superstar and no one rocks sequins and high heels quite like he does, but how can someone who’s covered everyone from Michael Jackson to Radiohead to Gnarls Barkley to Rihanna say that it’s uncool for other people to cover his songs? We’re also a little confused as to what sparked this, especially following Prince’s decision to let Gwyneth Paltrow belt out “Kiss” on an episode of Glee earlier this season. Guess the eighties superstar is down with covers… as long as the money’s right.

Either way, Prince won’t be able to make this happen. Under United States copyright law, once a song has been recorded and publicly distributed compulsory licensing kicks in, and any musician who pays royalties has the ability to record a cover as long as they notify the original artist. But juuuust in case he somehow manages to pull it off, here’s a playlist of some of our current favorite Prince covers to keep you satisfied. No, Limp Bizket’s rendition of “1999” didn’t make the cut.

• Chiddy Bang is a BEAST.
• Katy Perry isn’t exactly living a teenage dream.
• Will we ever get sick of Tyler, the Creator? …Probably not.
• ’90s grunge bands unite!
• OMG, like, there was a really important wedding today…
• …And Morrissey couldn’t care less. Those damn “benefit scroungers!”
• Vevo prepares to take over the world. Watch your back, YouTube.
• We miss you already, Michael Scott. End of an era.

We totally fan-girled out when Beastie Boys released the teaser video “Fight For Your Right Revisited” earlier this month, partly due to Will Ferrell, Seth Rogan and the rest of the star-studded cast, and partly due to that delicious new beat playing in the background. That track is “Make Some Noise,” the first single from the group’s upcoming album Hot Sauce Committee Part Two, and it’s vintage Beastie Boys, with Ad-Rock, MCA and Mike D trading razor-sharp lines over a brilliant, spiky rhythm.

If you’ve been anxiously anticipating the new album, there’s a good chance you might get chills when you hear Ad-Rock’s opening couplet: “Yes, here we go again give you more nothing lesser/Back on the mic is the anti-depresser.” The song does work like an instant Zoloft; toe-tapping and head-bobbing are inevitable as the trio delivers lines like,  “Leggo my Eggo while I flex my ego/Step off my Seco, dressed up tuxedo.” By the time you get to chorus, “We got a party on the left/A party on the right/We gotta party for the motherf**king right to fight,” you’ll be wondering how you made it through the last four years without a new Beastie Boys album.

There are plenty of clever references sprinkles throughout the track, from Charlie and the Chocolate Factory (You must have drank a fizzy-lifting drink and you got lifted) to the B-Boy stance (The forbidden dance, here’s my chance/To make romance in my B-boy stance). Other unexpected lyrical pairings to look forward to: eagle is rhymed with beagle, nada is paired with lambada and Ted Danson is rhymed with financing. Yeah. Now you have to listen to the track, if only to figure out how on earth they make those lines work.

Because MCA is telling the truth when he spits, “I burn the competition like a flamethrower/My rhymes age like wine as I get older.” Ad-Rock, MCA and Mike D have sacrificed none of their clever, cutting lyrics as they’ve aged; “Make Some Noise” is an old-school party jam that begs to be played at high volumes. So if your mom busts in and says “What’s that noise?” just tell her you’re getting pumped for the upcoming release of Hot Sauce Committee Part Two.

Check out the video for “Make Some Noise” below!