popwreckoning

Tiësto recently sold out three NY shows in a row.

This is the first entry from the Tiësto “Kaleidoscope” World Tour diary, celebrating the release of Tiësto’s new artist album, available now on Ultra Records.

Tiësto: website | myspace

Motion City Soundtrack have announced My Dinosaur Life as the title of their fourth studio album and Columbia Records debut.

The album should be available in 2010. Blink-182‘s Mark Hoppus is producing. He first teamed with the boys for Commit This to Memory.

While waiting, the band wants you to enjoy a new song “Disappear.” “Disappear” is their first new studio song in two years and it is available as of today, Oct. 20, on iTunes. The band hopes to release a video next month.

The band also has planned a special 3-night Chicago performance for fans to catch their first three albums in their entirety this December.

We’ll keep you updated as more news becomes available about My Dinosaur Life. The quirky and smart release full of moogs will be something you won’t want to miss.

Motion City Soundtrack: website | myspace | @ liberty hall

Before I delve into the infinite amount of praise I have oozing out of every orifice for Starfucker, I would like to emphasize the brilliance of this particular show. Sure, the Echo is somewhat small (a hole in the wall to be more precise), but the energy was incomprehensible. It was quite possibly the only show that completely captured my attention since I began writing for PopWreckoning almost a year ago. Even the openers were inappropriately enthralling, which is difficult to find amongst relatively unknown indie acts. And Starfucker is no exception, considering their sizeable “hipster” following is quite impressive for a band with a mere two years in the music industry.

Starfucker was preceded performance-wise by fellow Oregonian act Deelay Ceelay. Their set was startlingly unique, and was comprised of two drummers, layered over eclectic electronica, intensified further via artsy, psychedelic slideshow and flashing strobe lights. It seemed quite ironic for the Echo to have been one of the initial venues for the underground rave scene because Deelay Ceelay completely and totally captured that essence in their trance/drum and bass vibe: a vibe that could possibly be referred to as a melodically induced narcotic. The highlight of their performance was an up-tempo trance remix of TI’s “Whatever You Like” that energetically and climatically set the stage for the entrance of our beloved Starfucker.

Despite the heartbreaking news that the boys will soon be shifting monikers, their reason for doing so is feasible. With the recent onslaught of exposure (Target commercials, Weeds, etc) a mellower name wouldn’t send the wrong message to an ignorant audience (even though their name is absolutely perfect for them). The change was imminent though, these boys have a lot of potential that obviously has not been taken seriously by most as of yet, and their name shared a good portion of the blame. Enthusiastically charming, Starfucker presented us with a radiant array of indie/electronica ecstasy coupled with a ridiculously charismatic stage presence. What more could you ask for? Their next show is scheduled for their hometown, Portland, Oregon! on Halloween, and will probably be twice as epic as my experience at the Echo. If you’re in the area, you should definitely check it out.

The band leaves for the European leg of their tour at the end of November after a show in San Francisco on November 7th.

Starfucker: myspace | @ sxsw | @ manhattan room

Phoenix’s fourth LP drop, Wolfgang Amadeus Phoenix, was critically praised by critics the world over and shone a light on a band that through no choice of their own, eluded immense popularity. One track off of that album that was well received was “Love Like A Sunset.” Though I do enjoy the track, I don’t hold it in as high esteem as others when compared to others from the album, however, I quite like the remixes.

.Phoenix – Love Like A Sunset
“Love Like A Sunset” is an extremely long song, running close to eight minutes, with the majority being a dark and moody instrumental composition. The piano keys fall like raindrops on a cool and dreary evening, the melody hums, and a foreboding essence plumes from the staccato guitars. Though around six minutes in, sunshine breaks through the gloom with sweetly strummed guitars, Mars’ gentle vocals and a slower pace that ends with “You’re like a sunset.”

.Shuttle Remix
The Shuttle remix is concise, which is welcome. It’s not ominous or brooding like the original, but comes in with programmed drums that pitter patter throughout the track. Brief, but intense pushes on synthesizers are intermittently inserted, but right away we are welcomed with Mars’ vocals, which is the best part of the track. From there the song picks up with insane pace, become a pseudo techy house mix, with fuzz, distortion and bubbles of electronic tweaks. Also worth noting is that Shuttle is a member of Passion Pit, with whom Phoenix was playing a few shows with.

.Animal Collective Remix
The AC remix sticks to the blueprints of the moodiness of the original. The song is raw with a touch of tribal drums and the airy feel of the original. Here, too, Mars’ vocals come in without any delay and echo across the tune in a spacial manner. The remix picks up a little speed but for the most part sticks to this format, pleasant, understated, but nonetheless great to listen to.

Phoenix: website | myspace | @ rumsey playfield | @ monolith | @ record bar

Photo by: Dese’Rae L. Stage

On the album Another Side Of Bob Dylan, in the song “My Back Pages,” Dylan sings, “But I was so much older then/I’m younger than that now.” True, that was a kiss off to the “protest songs” thing he’d been pigeonholed with and wanted to escape, but on his next album, he not only abandoned that particular stance, but stylistically began embracing rock and moving away from the acoustic folk that had dominated his music up to that point. In the song, he words his “declaration of intent” paradoxically to increase the power of the statement, but really it makes perfect sense: he had been playing the (older) music of the past up until that point and now he was going to play the (younger) music of the then-present and future. Of course, Dylan never entirely abandoned folk, but rather, he advanced it by electrifying it, filling it with amphetamine-fueled beatnik-inspired poetry and abandoning the limiting three chord structure of traditional folk to pen otherworldly epics like “Ballad of Thin Man” and “Sad Eyed Lady Of The Lowlands.”

The past can’t be ignored, but it’s no place to make a home, or worse, a career. Elvis Perkins and The Dimes aren’t so much folk revivalists as they are folk preservationists, with the latter act going so far as to base the songs on their first album on stories they found in depression era newspapers preserved beneath the floorboards of the guitarist’s house.

The two acts draw inspiration from Americana of more or less the same time period, but they differ greatly in their aesthetics. Perkins’ approach is kind of goofy and not adverse to more electric instrumentation and idiosyncratic brass arrangements. The title track for instance, despite its morbid subject matter involving dedication “till doomsday,” is a jovial, bouncy folky tune with a traditional melody Perkins sings in his quivering, exaggerated tenor.

Perkins’ strength lies in his large, charismatic personality. It’s enough to carry the music, but his music isn’t original enough to carry itself. All the songs on The Doomsday EP are based on traditional folk structures and the lyrics have their roots in either the religious or archaic. Admittedly, in “Gypsy Davy” the topic of underage girls is still relevant, but it’s sung in away that suggests some kind of creepy 19th century perspective. And the straightforward “Stop Drop Rock And Roll” feels like nothing more than an energetic exercise, like something played to warm up the band. Perkins is simply repackaging music that’s been around for decades. He’s not updating it or drawing on it for inspiration like Bob Dylan or Bright Eyes or M. Ward; he’s just remaking it with a funny voice and an electric guitar.

The Dimes fare somewhat better, largely because their songs aren’t so strictly traditional in their structure. The arrangements are very in keeping with the sounds of the period, and the band use all kinds of sounds of the period to tremendous effect: sweeping harmonies are everywhere, supported by various rustic-sounding stringed instruments and all kinds of little bells and whistles. Over the course of The King…, The Dimes try out a selection of musical outfits. In “The Liberator” the band sound dark, brooding singing about the abolitionist newspaper the song is named after; the moving “Save Me Clara” is sung from the perspective of a dying man, begging in vain for “Clara” (apparently Clara Barton, a nurse during the civil war) to save him from his fate; the wispy, ornate “Ballad Of Winslow Homer” is about an American painter of the time who for a period painted scenes of wartime; “Webster Thayter” is a twangy tune about a judge who condemned two men to death, despite the fact that there was very little evidence to suggest they actually committed the crime they were accused of.

The Dimes’ devotion to the past is so deep-rooted and expansive that with a Wikipedia page open, it’s hard not to be pretty impressed by what they’ve accomplished. But despite the strength of the music (which is considerable), in steeping the album so strongly in the past they’ve distanced it from themselves. The emotions don’t quite ring true, but seem secondhand, like echoes from some elsewhere, which they are. And true, an artist can put himself in character and deliver great work, but The Dimes just don’t quite manage to pull it off entirely on The King… Maybe it’s because they focused too much on the history and not enough on the emotions involved, or maybe because they sound too young, or too clean.

The artistic and commercial success of Fleet Foxes and M. Ward and any number of great contemporary folk and Americana artists prove that the genre is still as valid and full of potential as any other, but looking at great bands and artists like the aforementioned, it’s not greatly apparent that there’s a thin line between paying tribute to the music of the past and indulgently recreating it. But there is. The past had its music, its stories, and its culture and those aren’t going anywhere. It’s up to the artists of today to give the present its own music, stories and culture.

Elvis Perkins: website | myspace | @ bonnaroo | @ sxsw
The Dimes: website | myspace

Having just released No More Stories… , their latest album, at the end of August, Danish rockers Mew have announced on their official website their North American tour for this fall. They will be supporting Pixies at Constitution Hall on December 1.

Tour Dates:
Nov 30 – Trocadero / Philadelphia
Dec 01 – Constitution Hall / Washington, DC*
Dec 02 – Paradise / Boston
Dec 04 – Webster Hall / New York City
Dec 05 – Cabaret Du Musee Juste Pour Rire / Montreal
Dec 06 – Mod Club / Toronto
Dec 07 – Metro / Chicago
Dec 10 – Neumo’s Crystal Ballroom / Seattle
Dec 11 – Venue / Vancouver
Dec 12 – Hawthorne Theatre / Portland
Dec 13 – Mezzanine / San Francisco
Dec 14 – Henry Fonda Theatre / Los Angeles
*with Pixies

Mew: website | myspace | No More Stories…review

I arrived at the Moore Theatre last night just in time to get my Will Call tickets right when the doors opened, thankfully – since it was one of the rainiest days of the year in Seattle, which is saying a lot. I stood out in the lobby for a bit before they opened the doors for us to find our seats.

I – along with a few other people – trickled into the old theater through the corridors myself in the box seats, the others spread around within the theater. A few guys came and sat in the box a few rows behind me, discussing whether or not to get drunk.

“We can’t drink beer down here? Let’s go mingle. Let’s go drink beer,” the first guy proposed.

“Okay, dude. Let’s go drink beer,” the second guy responded.

By that point, the historic Moore Theatre was pretty empty. Actually, most of the people didn’t arrive until halfway through the openers, the Morning Benders from San Francisco.

Personally, they were a big part of the reason why I went to the gig. I saw them in July of 2008 as openers for my favorite band We Are Scientists, and from then on I wished to see them again.

Unfortunately, when they came back to Seattle this October, someone decided to break into their van some time before the show and steal some of their equipment, among other random things. But had I not known that, I wouldn’t have thought otherwise, because they were totally at ease on stage. Kicking it off with a low-key version of “Damnit Anna,” one of the peppier songs from their debut Talking Through Tin Cans, they were just the right compliment for Grizzly Bear – the headliners. But the rest of the songs were new ones from their upcoming release, Big Echo, which doesn’t yet have an official release date. I caught a few of the titles of the new songs, and my favorites were “Hand Me Downs,” an upbeat song more reminiscent of Talking Through Tin Cans, and “Stitches,” a slow, heavy ballad. “Stitches” actually kind of mesmerized me. And sitting by myself in the box at that point, I could just bask in the sound and listen. It was nice.

The Morning Benders’ sound was more mature than the last record, which makes me excited to hear all of Big Echo. But even though their new stuff sounded more mature, the Morning Benders still had the same charm they had last time I saw them. All of their guitars may not have been labeled “Britney Spears,” but drummer Julian Harmon had the familiar sticker on his snare. Not sure what it means. I’ll have to figure that out one day, but it’s interesting nonetheless.

The Morning Benders were very gracious openers, as front man Chris Chu repeatedly thanked Grizzly Bear for bringing them on this leg of the tour, which gave everyone a nice impression of the band. But I don’t think they got the love they deserved because like I said earlier, most of the people got to the venue late, just in time to see Grizzly Bear. At the end, Chu thanked the crowd “for coming early to see us.” That’s not early, that’s on time. Everyone else got there late.

But they did come to see an amazing show. Grizzly Bear was amazing.

Normally I don’t like sitting in the theater at gigs, but in this case, the Moore was the perfect venue for it – large, but not too large so it’s still intimate. And the haunting vocals from Daniel Rossen, Ed Droste, Chris Taylor and Chris Bear worked perfectly with everyone seated. It’s not the kind of music you dance to, more like the kind you just listen to.

And that’s all I had to do – listen.

And Grizzly Bear surely brought in the crowd. The guy sitting next to me had heard of them just that day, and lived in Pullman. He drove four hours to see them. Wow.

I’ve never seen a more dynamic group of musicians. First hearing them on Veckatimest a couple months ago, I would have never guessed they could pull off all the layers of sound they achieved on the record the same way live. But they did. Droste would switch from keyboard to guitar to harpsichord, and Rossen switched from keyboards to guitar. But Taylor was the one that stood out to me in his multiple instrumentalist skills. From bass to flute to clarinet and bass clarinet, and another odd instrument that I couldn’t name if I ever tried. It just added an eerie ringing sound to several of the songs.

Speaking of the songs, Grizzly Bear played a nice mixture of songs from Veckatimest and 2006’s Yellow House, which lent itself to the range of sounds they created on stage. Starting off the show with “Southern Point,” it was just the right amount of energy to get people excited. Not only did they sound great, but also there were Mason jar lights set up all along the stage hung from stands, creating a wave of lights to go along with the psychedelic indie rock.

Some of my favorite tunes of the night were “Fine for Now,” “Little Brother,” and “Lullabye.” But what got the crowd going most was “Two Weeks,” Grizzly Bear’s biggest hit yet. Besides, it’s the easiest to sing along to. But the biggest song of the night, and the one that really gave me goosebumps with all the slow buildup, Taylor’s constant switching of instruments, and soaring harmonies from Droste and Rossen was “I Live With You.” I could see people all around the theater bobbing their heads to the music that filled the extremely tall Moore.

Droste actually said towards the end of the night, “Are you guys getting vertigo up there? I was up there earlier, and it’s weird.” The second balcony is quite tall, and most of the time requires binoculars, but it sounds just as good because of the acoustics of the theater. From where I was sitting in the box on the main floor, the heaviness of the bass actually made my glasses shudder and eyes blur for a second.

After the “last song,” everyone got on their feet to applaud for the encore, except a select few that actually thought it was the end of the show. But a couple minutes of applause later, the foursome walked back out on stage for one last song, “He Hit Me,” from the Friend EP. It was a perfect way to end the show, finishing at a little before 11 p.m.

Now all I had to do was wait for my ride to get there. But while I waited, I stood outside the venue for a bit and mingled with the other fans waiting to meet the band. I still have yet to do that, as I have an odd fear of meeting bands. Not sure why, but I really need to get over that.

Maybe next time.

Grizzly Bear: website | myspace

His MySpace page reads like that of a scrappy Brooklyn any-kid who makes music for his friends from the unassuming far corner of his childhood bedroom, next to a pinup of Tom Petty and a wide-eyed girl he might be in love with. The self-tweeted “Rambling Man” doesn’t have that many “friends,” a mere 3,968, is still grateful for small NYC club gigs, and cites both Biggie and Pavement as influences, but his music begs a much bigger bio than his profile suggests. One listen to “Buriedfed,” from his eponymous 2008 debut will destroy you. It’s the best of Dylan’s rawness, the starkness of Hemingway, and reminds me of the hometown lyrical longing and driving guitar momentum that is so inherently Springsteen. Up until now, I haven’t come across a voice that so accurately portrays the hope and fear that is the underbelly of change defining our generation. Like a memoir unfolding in real time, playing parallel to us, Miles is your spot on soundtrack.

On Summer of Fear, produced by TV on the Radio’s Kyp Malone, and a little help from the boys of Grizzly Bear, out October 20th on Saddle Creek Records, Miles Benjamin Anthony Robinson sings us a dark, dark story of the anxiety that accompanies the risk of dreaming in uncertain times. A hazardous balladeer compared to his peers, Robinson swims all the way out, far past the buoys, through scratchy, shaking whispers and blood curdling screams looking for answers to questions most of us are afraid to ask, doing things we know we shouldn’t, just to remind himself of the feeling, a lyrical cutter trying to make a mark deep enough that he never forgets.

The Summer of Fear is the story about the summer of 2007, when Robinson, beat up and reckless, mounts the greatest fight of his life tackling the catastrophe of heartbreak, the saltiness of something new, the satisfaction of anger, and the hope of redemption. Robinson say’s “Listening to it now…It’s like someone banging on a door really hard, until they start throwing their shoulder into it….then someone on the other side simply opens it and on the next lunge the solicitor goes hurtling across the threshold. It’s well produced, but there’s a lot of frustration and rage on the record. Every song has a point of catharsis.”

“Summer of Fear Part 2″ is easily the most arresting track on the album beginning with a carefree little whistle that you swear you’ve heard a thousand times, that you know you’ve hummed before is anchored by a riff as melancholy and infinitely as sad as a great Pumpkins song, Robinson makes a plea for what was, desperate for the memory. “I said knock-knock” a voice in the way back calls, “who’s there?” Robinson screams, “You said you’d never forget…you said you’d never forget.”

Surrounding lyrics and Robinson’s strum is a complex orchestration to the music with hidden whispers, fuzzy guitars, warming choirs, and miscellaneous trinkets of sound, creating an audio scrapbook that will last forever even if the memory can’t. While The Summer of Fear may have been his biggest battle to date, I have a feeling Miles Benjamin Anthony Robinson has quite a few more fights left in him and I’ll be damned if I miss another.

Tracklisting:
01. Shake a Shot
02. Always an Anchor
03. The Sound
04. Hard Row
05. Trap Door
06. The 100th of March
07. Summer of Fear pt. 1
08. Death by Dust
09. Summer of Fear pt. 2
10. Losing 4 Winners
11. More than a Mess
12. Boat

Miles Benjamin Anthony Robinson: website | myspace

Kevin Devine: website | myspace | Brother’s Blood review | @ north star bar | interview pt. I | interview pt. II

In the second half of my interview with Brakesbrakesbrakes‘s singer/guitarist Eamon Hamilton and bassist Marc Beatty , they talk to me about their new live album and tell me about their “hometown” of Brighton, England.

To catch up on part 1 of this interview, click here.

Mary Chang, PopWreckoning: “Don’t Take Me to Space (Man)” is a great song, loved it the first time I heard it on Steve Lamacq‘s 6music programme. As a writer and poet, I can appreciate the rhyming use of “I don’t care if this world’s masonic” and “I’ve got a true love keeping me on it.” What was the inspiration behind it?
Eamon Hamilton (singer/guitarist for Brakesbrakesbrakes): I had seen some 2012 internet conspiracy theories, (in cheesy voice) “the world’s gonna end in 2012!” Anyway, it seems like these adult ghost stories, these conspiracy theories about the end of time. And I just didn’t care about this. I wrote it like, I don’t care whether the world ends or not.
MC: Do you feel that it’s a defining song on the album? The cover of Touchdown has the five UFOs.
Marc Beatty (bassist for Brakesbrakesbrakes): And it’s [the cover design] seems to have gone down really well. We were quite surprised how popular it’s been [with the fans].
EH: But it’s just a love song, innit? (grins)
MC: I was wondering if you’d had any alien encounters or something.(all laugh)
MB: Yes, we’ve all had them.
EH: Unfortunately, we can’t tell you.
MC: One of those “if we told you, you’d have to kill me” things?
MB: Right.
EH: One time I saw these weird lights coming up over Brighton. I couldn’t work out what these lights were. They were really close together, and then they shuttled away. Then it turned out it was just lasers. Disappointing.

MC: You will release a live album next month called Rock is Dodeljik. I have it on good authority from my best Dutch mate that I pronounced that right. She told me she read an article in a Dutch music magazine that the title had something to do with someone quitting smoking. Is this true?
EH: Yeah, I’ve quit smoking. The Netherlands, Holland, they have the best tobacco in the world, the Drum. It always was the tobacco center of Europe, what with Rotterdam and all the ports. So yeah, you can find it in all the cafes. So I thought, yeah, it was time to give it up really, and the album’s name is a reminder of this.
MB: And it’s a pun of “death” on the cigarette pack. Whenever we tour over there, we see it, and then you’ve got a picture in your mind.
EH: The health warning is “roken in dodeljik”.
MB: “Roken” means smoking, and we always thought it was funny, so we wanted to call our album “rock is deadly.”
EH: But there’s also the English phrase of a “doddle” – is that an American phrase as well? Or just British?
MC: No…not that I’m aware of.
EH: A doddle is something easy, “it’s a doddle, mate!” So yeah. And what else would you said…(begins jokey imitation of Mark Knopfler in Dire Straits) “that ain’t working, that’s the way you do it.” We’re all Dire Straits fans on the sly. (laughs) Or it could be, “rocking is dude-de-lik” like over here [in America] “hey dude!” But yeah, it [dodeljik] means lethal.

MC: So you blokes are from Brighton. Are you all originally from there, or do you have individual stories on what drew you to the seaside?
MB: Only [the brothers White] Alex [drums] and Tom [guitarist] were born in Brighton. I was born near London, moved to Brighton when I was about 3.
EH: Eh, you’re a Brighton boy!
MB: Yeah, Brighton boy. And Eamon is from Canada.
EH: From Northern B.C. [British Columbia] but moved away when I was about 2. I grew up in the West Country of Britain. I went back to Brighton for a band I was in before this because Brighton was a good epicenter of music. It’s an awesome place for music. There’s not much else there but music. But yeah, it was music that drew me to Brighton.

MC: I have been lucky to visit many places in England, mostly for gigs! But I’ve yet to stop in Brighton.
EH: Oh yeah?
MC: Yeah, but the pier and some of the venues are legendary. I’ve several friends who go down to Brighton from London regularly for gigs. Do you have any favorite venues, either playing yourselves or where you’ve seen memorable shows?
EH: My favorite one is the Pavilion Theatre. It’s a council venue. It’s so very expensive to put gigs on there. So not too many gigs get put on there.
MB: There used to be a lot of good gigs there, the promoter would promote [the bands], they would bring in their own sound systems. These days when people put on gigs there, they use the in-house sound system, which isn’t as good. And people don’t want to put on stuff there [for that reason]. Brighton’s had a bit of bad luck with venues, a lot of people buying the venues, doing them up, and getting it wrong. There’s one place, Freebar, the place where we grew up…I met Alex and Tom there when I was 15. I worked there, loads of my friends worked there, yeah, and the place has changed a lot over the years. And now it’s in a state that no one in the town likes. It was ripped out and redone.
EH: Out of towners…(scoffs)
MB: And the people who bought it recently, they changed it and had such bad business, now someone else has moved in…
EH: Really? Shit.
MB: And Brighton’s always had this changing venue scene.
EH: And we’ve always had the Concorde 2. Half of Rock is Dodeljik was recorded there.
MC: Okay. Is that shaped like an airplane or something?
MB: It’s called the Concorde 2 because there used to be a Concorde venue further towards the centre of town, near the seafront. They closed that down because the council wanted to turn it into this whole new development with a Burger King, an arcade, all that sort of shit. So they [the people who run the Concorde 2] bought a listed building slightly further down the road, a big old building.
EH: Yeah, and it’s a great venue. Brighton’s just a great town for music.

MC: How often do you go back [to Brighton] now that you’re on tour?
MB: Eamon lives in New York…Alex is in London. I lived in Glasgow for the last 2 and a half years, I’m just about to move back to Brighton. So yeah, we’ve got family and friends there.
EH: (begins Rod Stewart impression) “it’s in our heart, it’s in our soul…” Sorry! (laughs)

MC: I know you guys are needed at the sound check…so what it is like touring with your labelmates [We Were Promised Jetpacks and the Twilight Sad]? Were you mates before? Did you know what their music was like?
EH: We did know their music, yeah.
MB: We’ve only been on this label for a year or so. And yeah, a year today, or a year a couple days ago. But this is the first Fat Cat-orientated tour that we’ve done. We did a show in Brighton at the Great Escape [a English music festival that takes place in May]. It’s sort of like a South by Southwest in Brighton. We did a gig, we headlined and they supported us. We kinda met them then, but it was a really busy time, we couldn’t make any relationships with them. And they live in Scotland. Surprisingly, I hadn’t even met them when I lived there, probably because I was away on tour and they were always on tour. So yeah, since last week, we’ve been starting to get to know everyone on the bus.
MC: Have you been enjoying the tour so far?
EH: Yeah, it’s been awesome.
MC: When did you guys start in America?
EH: A couple days ago, on Thursday in Chapel Hill.
MB: Just about recovering from jet lag now. Today. Today I feel normal. The thing is, we flew over and then went straight into it [gigging]…ughh! And you don’t get much sleep, it takes about a week to get used to sleeping on a bus.

Alex and Tom come out and say it’s time for their sound check.

MC: Thanks guys for this interview.
MB: Yeah, thank you.

Interview conducted and gig photos in this article by: Mary Chang

Brakesbrakesbrakes: website | myspace | BrakesBrakesBrakes Announces October North American Tour, Plans for Single and Live Album | Fat Cat Records Tour Featuring the Twilight Sad, Brakesbrakesbrakes, and We Were Promised Jetpacks @ Black Cat, Washington, DC | Interview with: Marc Beatty and Eamon Hamilton of Brakesbrakesbrakes (Part 1)