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Ryan Hemsworth revisited: one year later

This up-and-coming Canadian artist has continued to grow in his moments alone on the road

It’s been just over a year since Ryan Hemsworth was last featured in The Concordian, but in those 13 months, he’s grown to astonishing new heights.

Last October, I compared Hemsworth to a tree. Rooted in a childhood of guitar playing and lyric writing, his branches are ever-expanding; he’s toured across the globe, started a label, and released his second studio album. But with the release of Alone for the First Time, his focus is less on stretching towards the sky and more on strengthening his roots.

While many of his best-known songs are upbeat, Hemsworth used this album as an outlet for introspection; it’s a window into himself, an audible documentation of what it’s like to get to know yourself in the endless stretches of hotel rooms, plane rides and alone time between hour-long sets.

“I made this album in the past, like, six to eight months on the road, in between shows and at hotels and airports and stuff,” he said. “I produced it all on my laptop. But I got a lot of friends to help with it, so it’s a lot more collaborative than the last few projects I’ve put out.”

There’s no better place to start the process of self-discovery than childhood, and since he’s been making music since before the days of laptop production, this album incorporates those first roots of musical interest—playing the guitar.

“In ‘Blemishes,’ all that guitar part is me, and a few other tracks have guitar parts throughout them as well,” he said. “But ‘Blemishes’ is the one that I wanted to go all out and play a lot of weird, different stuff on it. If you hear any guitar, that’s me, rockin’ out.”

But one thing we won’t hear anytime soon is Hemsworth’s own voice in his music.

“All the features on this album are basically vocal features,” he said. “But I did little, like, bits of singing in the background, and then I would mess with it until it didn’t sound like my voice anymore. Since the guitar doesn’t come from my vocal chords, it’s a little less personal, I guess. I also made sampler keyboard sounds out of acapellas that my friends made, each singing one note, and then turned those into notes on the keyboard. That’s how I made the intro to ‘Snow in Newark’ and the outro to ‘Walk Me Home.’”

Alone for the First Time is an exploration. It’s hard to create an accurate image of the feelings it incites; you can simultaneously feel the rush of performing and the loneliness of life on the road. There’s something about impermanence—the view out of your bedroom window is never the same, and the scenery flashing by your car windows eventually becomes a kaleidoscope, indistinguishable from one place to the next.

“It’s hard trying to lead somewhat of a normal life when my friends are in one place and I’m not there,” said Hemsworth. “It’s a balance of mostly good and maybe slightly bad, because you’re just becoming a nomad and you don’t have a home. But in a way, you start to get used to it.”

For someone who’s a self-proclaimed introvert, travelling alone doesn’t have to be scary—it can be an opportunity for growth instead.

“It probably would either break you down or make you a bit more of an open person,” he said. “It’s definitely opened me up a little bit. Before touring and travelling, I was definitely a lot more shy than I am now, even though I’m still probably fairly shy. But it’s awesome to be able to start having little groups of friends in different cities. Regardless of not seeing certain people for a while, I’ll always have some friends around, which is cool.”

But as Alone for the First Time hints, a life of constant motion can be a lonely one. Surprisingly, the most crowded places—festivals and clubs, for example—can be the loneliest.

“It’s kind of weird,” Hemsworth laughed. “It helps a lot to be with a crew, because sometimes I’ve shown up at festivals just totally by myself. It’s definitely good to have some friends, and also to get a little drunk beforehand. Sitting backstage by myself is really not an ideal way to pump myself up to play in front of thousands of people, but it happens more often than people realize! But at least backstage we have chicken wings.”

To counteract that loneliness, Hemsworth has planted a forest to grow alongside him with the creation of a project called Secret Songs.

“It’s becoming a ‘label thing,’ but I started it as basically a way to put out my friends’ music who don’t have a lot of listens on Soundcloud or whatever,” he said. “That’s what everyone cares about nowadays, for some reason. I just wanted to use whatever popularity I had to get people into stuff that I think is probably better than my music. And on the tour I’m doing that’s starting up now, I’ve got most of them opening shows across North America. I’m trying to keep everything sort of like a family, I guess.”

Ryan Hemsworth plays at Le Belmont on Nov. 14.

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ODESZA’s audible odyssey continues

ODESZA’s new album, In Return, is music that suits any scene in your life.

Picture yourself frolicking on a beach in slow motion, the sun refracting through cotton candy clouds and bouncing off the water, polaroid-style light-leaks filling up the sky; that’s how ODESZA’s music feels.

It’s hard to find a decent electronic song that you can listen to on the bus to school, in the shower, and while having a drink or three on a Friday night. It’s even harder to find an entire album of those songs. But that is exactly what In Return, ODESZA’S new album, is.

Harrison Mills and Clayton Knight, the duo who make up ODESZA, met through a mutual friend in their senior year at Western Washington University in Seattle. They clicked instantly, fitting together like audible puzzle pieces.

“We were the only people who were making electronic music at our college, really,” said Mills. “We just kind of sat down one day and jammed, and it went so well that we decided to make a project out of it. That actually became our first album.”

With electronic music ever on the rise, it can be hard to establish a distinct sound without alienating your audience or creating a niche. But ODESZA manages to do just that – they stand apart well enough to earn them a dedicated fan base, yet their sound is sufficiently familiar to appeal to everyone. Since their debut album, Summer’s Gone, though, the seeds of their sound have sprouted. With In Return, fans can expect a better-defined, more mature version of that recognizable sound.

“I think each album and EP we’ve done has been us trying something new in one way or another,” said Mills. “This one was definitely us trying to see if we could make a more song-based album. We actually have verses and choruses, and we worked with people to actually do vocals instead of just sampling songs.”

While song-making can be a lengthy process, Mills and Knight do it with speed reflective of their rise to popularity.

“What takes a while is finding the right singer and kind of going back and forth with them,” said Mills. “In general, we usually come up with ideas in the first day we’re jamming together, but all the detail work seems to take a bit longer.”

Some of their best-known songs aren’t originals, though, but remixes. And their mixing process is a different one altogether.

“It helps to not listen to the original song and actually listen to the individual stems by themselves – so, like, vocal, percussion, guitar, whatever – because we don’t want it to sound like what it originally was,” said Mills. “We want to really make an entirely new song out of the base that they’ve given us. And I think that’s what makes a good remix, too: if it’s recognizable but also completely different. Something we strive for in the remixes is to make it feel like a really unique song in itself.”

This focused, defined way of doing things has made ODESZA a name that gets more recognition with each new release. They played both Osheaga and Shambhala this year, to name just a couple festivals, and they’re just getting started.

Since their formation in 2012, they’ve released two studio albums and an EP – one album for each year of their existence. And coming out with so much music so quickly has paid off: just this month, they reached number one on Billboard’s dance/electronic album chart. But similar to that dream-like, ethereal beach scene, fame doesn’t quite seem real yet to Mills and Knight.

“I don’t think we’ve had any time to really soak it in, ‘cause we’ve been busy for the last two years straight,” said Mills. “We were working on the album the whole time we were touring, so there was never a moment to rest. Now that the album’s out, everything’s picked up and doubled back, so we’ve kind of just been constantly on the move – we’re either working on a remix, working on an original song, or on tour. But it’s a good thing, because we like to stay focused, keep working as hard as we can, and utilize the opportunity that we’ve been given.”

Part of that opportunity includes the chance to collaborate with impressive names in the music scene.

“Everyone we tour with has influenced us in a positive way. When you get to meet and talk to people that have inspired your music, you realize how much of a normal human they are,” Mills laughed. “Hearing their workflow and getting to pick their brains is really just an honour. Definitely one that stands out to me is Bonobo – seeing how humble he is and how talented he is was really inspiring. He’s like a god to me. A musician god.”

While their ascent to fame has been rapid, it wasn’t always that way. Their advice to any aspiring musicians?

“Play to the one person dancing. We really needed that when we first started out – we would focus on the 20 kids in the front who were only there for the headliner, when we were the 7 p.m. opening act. And to the audience: “It doesn’t really matter how stupid you look if you’re dancing and enjoying yourself. Those people have way more… what’s the word? Way more balls than anyone standing at the back and head bopping.”

 Catch ODESZA at Le Belmont on Oct. 5.

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Music

Electronic sound takes deeper root

We don’t give trees enough credit. Ryan Hemsworth is a tree; his musical roots run deep, his strong drive keeps him steady, and his reach can only continue to flourish. His music is audible oxygen, breathing new life into the electronic scene and revitalizing the lives of anyone who chooses to sit beneath its leaves.

Trees are grounded in history, and listening to Hemsworth’s songs makes it evident that his talent shares that trait; he’s no newcomer to the world of music.

Ryan Hemsworth performed in Montreal Oct.3 Photo credit: Sasha Loncaveric.

“I’ve been making music and recording myself since grade eight or nine,” said Hemsworth, “so my style has changed a lot, but in a way it’s also stayed the same. Back then, I used to play guitar and drums and sing, but I did it with the same sentiment – with references to hip-hop, rap, electronic and video game music.”

With the release of his first full-length electronic album, Guilt Trips, on the horizon, the first image that springs to mind is not one of a 14-year old boy strumming a guitar. Which is surprising, considering that Hemsworth is venturing back to his musical roots.

“I’ve learned to hone that and maybe make it more tasteful,” he said. “It’s not on the album, but the newest stuff I’m working on kind of goes back to that. I’m singing more, playing guitar more, and finding ways to do that stuff tastefully within electronic music.”

That’s not to say that his branches aren’t continuing to seek ever-newer skies. Producing a full-length album has been quite the novel experience for someone who’s previously released all his own music.

Photo Jake Churchill

“It’s definitely been a lot longer of a process, and patience has been the biggest part of this one,” Hemsworth said. “Whenever I’ve finished projects before, I could just put them on Bandcamp and let people hear them. But it’s kind of good to have that force of patience. Just learning to work with people—in every way, from the featured vocalists to label people—has been new. But being like, ‘Okay, I have to wait a few months now and just not let people hear this’ feels kind of funny, you know?”

In the meantime, Hemsworth is interested in exploring and exposing a side of the electronic scene that many people aren’t exposed to on a daily basis.

“I’ve been working with Seiho – he’s a label head, and he makes music that’s super electronic, but it has jazz and stuff,” said Hemsworth. “All these weird, different people that are amazing musicians and that more people should get to hear; people who make music with their computers, but are able to make it emotional and have some heart to it.”

His plans for future collaborations don’t stop there – he’s already planting the seeds for a remix version of Guilt Trips.

“I think I’ll put that out after the album has been out for a little while,” he said. “It’ll have a different version of each track by each of my favourite producers. I just want to do as much as I can to make it fresh and exciting for me.”

With so much variety to his style, it’s safe to say that Hemsworth’s branches won’t be bare anytime soon. His advice for any flourishing saplings out there?

“I’ve learned that staying normal and humble really pays off when you’re in this industry,” he said. “Every little thing adds up. Sometimes people on Facebook ask for an mp3 of a song they can’t find and I send it back and they’re surprised, but it’s like, I’m sitting on my computer anyway, so why not? In the 70s, if you were a rock star, you kind of had to be an ass

hole, but it doesn’t feel like we’re entitled. Unless you’re Diplo.”

Ryan Hemsworth’s first full-length album, Guilt Trips, is out on Oct.22.

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Music

Flume is forever on the fast track

Certain music makes you fall a little more in love with it with every listen and Flume falls into that category without a doubt. With

Flume plays Le Belmont on Saturday, April 6 at 10 p.m. Tickets are $21.74. Press photo

undeniably catchy synths and beats that could turn any frown upside down, it’s perfect whether you’re on the bus or out on the town. Harley Streten, the name behind the music, is an Australian producer and DJ whose sound is making waves internationally.

Streten may only be 21 years old, but he’s no beginner when it comes to making music. He got his start at the young age of 13 when he discovered the world of music production from a program he found in a cereal box.

While he fell in love with music production quickly, his rise to fame was even faster. He signed with Future Classic in 2011 after entering three of his songs into a competition the record label was hosting.

“You were supposed to send in your best originals, so I sent them the Sleepless EP,” said Streten. “I had already put it on blogs and stuff and it had gained a bit of traction. I got a record contract out of the competition and went from there.”

Some people spend years trying to make their name known, but Streten has been welcomed into the electronic music world with speed that would be shocking if it weren’t so well-deserved.

“A lot of people ask me if it’s been too quick, but I haven’t really known it any other way,” he said. “For me, it doesn’t really seem that crazy fast, but you know, I’m loving it. It’s been great fun. I get to see lots of the world and meet a lot of people. It’s been really cool.”

Speed seems to be a theme in Streten’s life; he can create a song in as little as a day.

“The fun-ness and the creative energy wears off quite quickly for me, so I need to make things happen fast,” he said. “If I do a remix and I’m super into it, I can do it within a day or two. Sometimes it takes longer, but I never let anything go over two weeks.”

If you’ve heard even one Flume song, you know that two weeks is an impressive amount of time for the creation of such audible bliss. But for Streten, that speed is an essential element.

“It’s just kind of how my brain works,” he said. “I can’t leave it for too long. When I have, it’s been a nightmare for me and I can’t really make much progress since I’ve heard the song so many times.”

Streten, who’s influenced by the likes of Flying Lotus, M83, and Shlomo, describes his music as “experimental electronica with a strong hip-hop influence and lots of catchy melodies.” But his style hasn’t always been so defined.

“When I started, I didn’t really have a sound and I didn’t really want to make a serious project until I did,” he said. “I’ve written pop tracks, minimal tech-house tracks, electro bangers, orchestral scores […] so I know how most genres work. I can manipulate and take the best of each genre and make them into whatever I please. It’s freedom. It’s good. It makes a producer more flexible if you can understand how other genres work.”

Australians are known for their love of traveling and Streten is no exception. His favourite part of success: seeing the world. However, being on tour makes it hard to find time to make music, regardless of how quickly you’re capable of doing so.

“I wrote all this music last year,” said Streten. “And now that it’s been successful, I’ve written less music in the last six months than I have in my entire life. It’s quite ironic.”

 

Flume plays Le Belmont on Saturday, April 6 at 10 p.m. Tickets are $21.74.

 

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Ghost Lights turns to Mother Nature for inspiration

Ghost Lights – (Photo Andrew Johnson Photography)

Imagine a forest: moss-pillowed logs, a sky of leaves and perhaps the trickle of a river just out of sight. Now imagine this forest as an image painted solely by sound.

Ghost Lights mastermind Noah Cebuliak, a Concordia student, is new to the Montreal music scene but his talent has the potential to take him to the top. His sound is a unique combination of haunting and relaxing that can’t help but make you wistful — not for a person, but for a state.

“I’d say atmosphere is the most important part of music,” said Cebuliak. “My sound is longing; it’s nostalgic. It’s a state of reverence.”

Saltwater, Cebuliak’s EP, is composed of six songs inspired by the world itself. The first track, “Fog Chief,” lays down the foundation for the melancholic vibe that lingers and traces its way throughout the following singles. Cebuliak’s personal favourite is “The Flask,” which is “a bit edgier.”

“With this music, what I’m really trying to do is look at the relationship between humanity and the wilderness, and the places where they meet,” he said. “Especially where they meet in a very thin way. I love the way nature interacts with humanity in small ways: abandoned places that are overgrown and being reclaimed. There’s always been a vibe there for me.”

“For a long time I thought it was corny that I was in love with nature,” he continued. “I felt like it might get attacked. But then I realized that I really love the wilderness and I have something to say about it.”

For someone so invested in the world’s natural beauty, Montreal is quite a change of pace. Cebuliak credits his time here to his love of Montreal’s “music scene,” while pondering whether being so removed from the west coast wilderness he loves influences his music.

“Sometimes I wonder: do I write better when I’m not there?” he asked himself. “Because then that feeling of longing is amplified.”

While Saltwater was released as recently as November, music has been a constant in Cebuliak’s life for as long as he can remember.

“My mom is a singer/songwriter, too, actually,” he said. “When I grew up, she made a couple of albums in our house in Alberta. My dad produced them. It was a pretty low-key affair. She’s been doing it forever, so it’s kind of been the lineage, you know?”

Not everyone is lucky enough to inherit such palpable talent, but that’s unquestionably the case for Cebuliak.

“When I was three, my parents had all these ice cream buckets they gave me, and I would play them with sticks,” said Cebuliak. “The drums were my first ‘thing,’ and now I play the guitar and piano, too. I always knew there wasn’t anything other than music that I could be doing and that I had to throw my life into this.”

Not only does he provide almost all the instrumentals on Saltwater, he also pours his soul into lyrical poetry that often takes months to write and refine.

“I don’t really understand how people write songs in a day,” said Cebuliak. He smiled before pointing to my notebook and continuing, “that’s just not my style. I have a bunch of these with words, attempts and drafts after drafts of finding out what I really want to say. I could write forever.”

Cebuliak credits his ambition partially to advice he received from Stars frontman Torquil Campbell.

“Don’t give up,” he stated simply. “Believe in yourself. Just keep going and persevere, and eventually all the competition will just fall away. It’s really simple and it’s really cliché, but you know it’s true.”

He related this advice to one of Buddha’s teachings from the Dhammapada: those who have not gained treasure in their youth perish like old herons in a lake with no fish.

“Essentially, just go for it now, or else you will never get it,” he said. “I think I’d live by that quote, because this is the golden age, you know?”

Cebuliak has already come a long way. He even confessed that he’d never consider performing the songs he wrote at the start of his musical journey. The songs he is proud of, though, have received overwhelmingly positive feedback.

“I was hoping that people would like it and that they’d get something out of it, because that’s kind of why you put something out there,” he said. “Otherwise you could just listen to it yourself and be happy. But it’s good that people have responded positively, because this is just the scratching of the surface. There’s a lot more to be said and in a much stronger way from me. I’ll be really excited when I put the next couple things out and see what people have to say about it.”

Now, his eyes are fixed firmly on the finish line.

When asked where he could see music taking him, Cebuliak laughed, pumped his fist into the air and exclaimed “to the top, baby!”

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A masterpiece of an “accident”

Ra Ra Riot’s third album, Beta Love, has a distinct sound that remains true to the roots of its predecessors but simultaneously sprouts new branches of its own. (Press)

Ra Ra Riot is a kaleidoscope. Their upbeat melodies, catchy instrumentals and signature synths come together to form audible shapes and patterns that their listeners won’t soon forget.

“We formed basically to play house parties around campus,” said bassist Mathieu Santos. “That was our main reason for existing, and after one semester everyone was going to graduate and go our separate ways.”

For a band that’s now toured the world, including North America, Europe and Asia, they were shockingly close to not existing at all.

“It was sort of an accident,” said Santos, referring to the creation of the band outside its former college-party guise. “We had so much fun that first semester, that when it ended, we decided to book a small tour. … We started getting positive reviews and more people coming to our shows. Once that happened, we just decided to keep going. Here we are, seven years later, still touring.”

Santos, the only member of the band who wasn’t graduating at the time of its formation, left school to pursue music.

“I’m glad the music thing is working out,” he said with a laugh. “I always wonder what I’d be doing otherwise. I was studying painting. I’d probably be living in my parents’ house, painting in my bedroom, trying to be some kind of artist.”

Ra Ra Riot’s third album, Beta Love, has a distinct sound that remains true to the roots of its predecessors but simultaneously sprouts new branches of its own.

“The biggest change for us was our attitude going into it,” said Santos of this perceptible difference. “In the past, we started to overthink things. This time around we wanted to capture the attitude we had when we first started, which was about being open to whatever was feeling good at the time.”

That attitude is reflected in their live shows as much as it is in their recordings.

“This tour’s been a lot of fun,” he said. “We tried to up our production for the first time in a long time. Having new songs to play is amazing, and they were written with the live show in mind. The shows have been pretty energetic on the whole: a lot of singing along, a lot of dancing and just having fun.”

University students’ tastes are as diverse as the musical spectrum, so it’s not hard to believe that the preferences of each member of Ra Ra Riot influence their sound. From indie to new wave to pop, Santos describes their band as a “collage.”

“It’s fun being in a band with so many people, because there’s always a huge mix going on,” he said. “Just last night everyone was taking turns DJing and playing all kinds of different music for each other.”

A love for music, of course, is the force uniting the band. It’s also what sends them on tours worldwide, allowing them to discover aspects of the world they wouldn’t otherwise have been exposed to.

“We get to do all this travelling for free, so we try to make the most of it,” said Santos. “That’s one of the best things about this job. If you’re not careful, it can turn into this monotonous grind; you don’t even know where you are some of the time. It’s good to go out and get the feel of wherever you are, even if it’s just going to a record store or a bookstore nearby.”

Between the shifting scenery flashing by their tour bus windows and their ever-evolving sound, there remains one constant: the band’s loyalty to each other.

“We’ve been together for seven years now, so it’s been a natural evolution,” said Santos. “It’s nice, because it’s the same core people making the music. We’ve changed a lot, but it still feels like us, you know?”

 

Ra Ra Riot play Il Motore on Thursday, March 7 at 8 p.m. 

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St. Lucia: a world of music, all in one place

St. Lucia. Press photo

Jean-Philip Grobler, also known as St. Lucia, creates music with vocals and synths that make you feel like you’re everywhere in the world at once, nostalgic for something you never had.

Grobler has had plenty of time to develop his unique sound. Born in South Africa, he performed with the Drakensberg Boys’ Choir School before moving to Liverpool to study music. He currently lives in New York city, a place he never thought he’d end up.

“In my head, New York was always the antithesis of what I aspired towards,” said Grobler. “Basically, I got offered a job to be a commercial music writer here not long after I finished university in the U.K., and it seemed like that would be stupid to turn down.”

New York might be full of aspiring musicians, but one thing’s for sure — none of them have achieved the dream-like, ethereal quality that St. Lucia’s songs possess.

“My music is my subconscious attempting to marry my more experimental inclinations to my ‘poppier’ inclinations, and I just go along for the ride,” said Grobler, referring to the distinctive pop aspect of his music.

Long before the days of St. Lucia, Grobler and the Drakensberg Boys’ Choir School toured Australia, Europe and Japan. Seeing so much of the world at such a young age undoubtedly impacted his sound.

“I think it’s given [the music] somewhat of a worldly quality,” he said. “To me it doesn’t sound specifically American, British, South African or anything really. It’s its own strange beast. The funny thing, though, is that I often hear more African influence in bands from the U.S., like Vampire Weekend or Yeasayer, than I do from bands in South Africa. Maybe that’s because when you live there, the idea of being in Africa isn’t as novel.”

His music was further influenced by the three years he spent at university in Liverpool; he had friends from around the world whose tastes were all vastly different.

“I credit them for teaching me to appreciate a good song for a good song,” he said.

Indie and electronic music are both reaching a peak in their levels of popularity. St. Lucia is a blend of both, yet something completely different as well. His music is impossible to lump into just one genre, and he likes it that way.

“I love a lot of bands from the indie movement, but as with any genre that gets a lot of hype, there’s going to be artists that start doing it just to be cool,” he said. “I felt it had gotten to that point, and my knee-jerk reaction was to go the other way. The electro-pop scene is also having its time in the sun, and I’m sure the same thing is going to happen.”

Regardless of genre, St. Lucia’s sounds simultaneously invoke feelings of familiarity, longing, sorrow and joy. As hard as this feeling may be to imagine, it’s exactly what the artist strives towards.

“I’m most satisfied with a song when it has an inherent sense of conflict in it — a sense of being happy and sad, both sides of the emotional spectrum,” said Grobler. “I find songs that are only frustrated, angry or happy to be boring because almost nothing in life is that way. The most memorable moments in my life are generally the ones with the most inherent conflict.”

Since his move to New York, St. Lucia has worked with HeavyRoc Music, Columbia Records and Neon Gold Records. His EP, September, came out in September and was Neon Gold’s first full-length release. The label has previously released singles by artists including Passion Pit, Ellie Goulding and The Naked & Famous. While Grobler acknowledges this as an honour, the highlight of his career is something more personal.

“I think it was having my parents see me perform for the first time in 10 years last December,” he said. “They flew in from South Africa, landed and came straight to the venue just in time for us to go on.”

St. Lucia is currently touring with Ellie Goulding and tells fans to expect a set comprised of his biggest hits.

 

St. Lucia plays Metropolis with Ellie Goulding on Saturday, Jan. 26 at 8 p.m.

 

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Music

All Time Low reaching a high point

High school bands are common enough, but how often do they become household names? For All Time Low, that’s exactly what happened through ambition, talent and the love of music.

All Time Low plays Metropolis with Yellowcard on Wednesday, Jan. 16. Press photo.

Alex Gaskarth, Jack Barakat, Rian Dawson and Zack Merrick were still in high school when they established All Time Low in 2003. The pop-punk band started off covering songs, but progressed quickly – by their senior year, they were signed with Hopeless Records and had released their first studio album, The Party Scene.

In the 10 years since their founding, the band has been thriving: they tour almost constantly, and their fifth studio album, Don’t Panic, was released in October.

“This band has never really slowed down,” said Gaskarth, the band’s vocalist and rhythm guitarist. “We’re always shooting those new goals that we set for ourselves.”

As anyone with siblings or roommates knows, being with the same people for an extended period of time can create conflict regardless of how close you are. For these rockers, however, that’s never been a problem.

“We’re a band that functions primarily by being on the road and playing for our fans, so it’s easy to handle because it’s such a big part of what drives us,” said Gaskarth. “We grow every time we go on the road, and we get enough time off that we keep our sanity.”

Sanity-saving or not, time off doesn’t seem to be as essential to All Time Low as staying true to their roots. Their fourth album, Dirty Work, was produced by Interscope Records, and the experience wasn’t something the band wanted to define their work.

“There were a lot of cooks in the kitchen,” said Gaskarth. “People were giving suggestions where suggestions weren’t really needed. It made for a disjointed experience.”

After splitting with Interscope and heading back to Hopeless Records, they were determined to produce their next album their way. Gaskarth’s pride in the band’s integrity was palpable as he described the process of how their latest music came to be.

“We really prefer the approach we took with Don’t Panic – writing the album free of analysis from outsiders, working on it with one producer and not losing touch with what the album’s supposed to be,” he said. “The key point was getting back to the basics and making a true All Time Low record. It was the story that needed to be told about the band. There was definitely a moment when we could have been defeated, and we didn’t let it stop us.”

Their sense of loyalty isn’t limited to their band, though. They’ve also developed a strong relationship with their fans.

“The big thing for us is to really encourage people to be themselves and believe in who they are,” said Gaskarth. “We’ve been exposed to a lot of people who feel different or cast out, and a big message in this band is to know that you’re not alone and things will improve.”

With the new year in full swing, All Time Low is looking towards the future.

“We want to step up the live show in 2013. A big part of it will be playing the new albums and putting emphasis on songs that we haven’t focused on in the past – giving people that have seen us before something new.”

They also want to cover the world again – their music has spread as far as Southeast Asia, South America and Europe.

“Besides that,” said Gaskarth, “we want to put out something new that we can surprise people with. As long as people are there to listen, we’re going to keep making music.”

 

All Time Low plays Metropolis with Yellowcard on Wednesday, Jan. 16 at 8 p.m. Tickets are $31.70.

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