popwreckoning

Innerpartysystem has been seen all over the electronic dance scene lately, since after touring with Warped Tour last year when they had almost fallen off the map entirely. After announcing their “American Trash Bundle” for $25, including a limited edition gold 7” LP and limited edition T-shirt, they announced this press release via their email list.

“Phew, glad to get that all out of the way.  We wanted to mention something on a more personal note.  Outside of the 140 character variety if you’ll stick with us.  If you happen to live in Northeast ‘Merica, you know that the weather has gone from spring-jackets to swamp-ass in no time.  Which is symbolic of one thing to us:  Times, they are a’ changin’… FAST.

In the vein of change, we’ve been getting a lot of inquiries from fans as to exactly what are release plans are.  We’ve got a policy of crystal clear honesty with fans, so we wanted to let you know exactly what we’re thinking:

We’ve taken a lot of time to explore our future label/release options in the past few months feel pretty strongly that rushing out a full album right now doesn’t make sense.  Our solution was to start putting out singles ourselves.  We want to give each song the attention we feel they deserve.  For the time being we plan on releasing 2 more bundles in the coming weeks/ months, and each one better and more developed then the last.

This is not the easiest route because we’re not millionaires with tons of scratch to sink into marketing and promo.  We lead pretty modest existences by any standards, and over the past few months we’ve been keeping it “incredibly real” as anyone in Mohnton, PA will attest.  So income from ‘American Trash’, will directly fund the release of the second single ‘Money Makes the World Go Round’, and each single’s sales dictate what we can spend on future singles, albums, DVD’s, etc.

To us, that was a big flaw in contemporary label system logic.  You’re taking a huge gamble on something that ‘might’ happen, and if it doesn’t right away everyone gets a wicked case of the Mondays.  With our single sales method, it’s not as much gambling as fighting to prove your worth.  A ‘working band’s’ model.  If people believe in this band enough to buy singles, t-shirts, etc. all the profits come back to us, and allow us to invest back into marketing future singles, the live show production, touring in more areas, etc.  It’s not a revolution, it’s simple logic, and looking at the most productive use of resources.

It gets tricky because (again, crystal clear honesty) our music takes a pretty extensive process to make.  There’s a lot of ‘No this isn’t good enough.’ And each track gets written, and rewritten until it we feel it’s up to release standards.  It’s much more time consuming then a band who walks in with a producer, cuts vocals, and awaits the final mix.  Infact, this is the first time since the Download EP (besides remixes of course) that you’re hearing new IPS music untouched.  No extra producers or mixers like we were blessed with on the self titled album.  This music is recorded by us, and handed directly to your hard drive.

And that means a lot to us.  We know that if you want music today, you’re going to get it.  Just ask a friend for a link.  Once one person has it, everyone has it.  Anyone thinking they can contain that is straight trippin.

But we’re not 100% sure how to pay our mortgage if all music is free and clear.  In fact these past few months we’ve been really caught up doing extra remixes and auxiliary production work so we can bring you this release.  We’ve been fortunate enough to find some exciting commercial scoring work for promos and film to help connect the dots, more details on that to come in the near future.

Weather you buy a bundle, or you just make the extra effort to pick up the album on itunes, amazon, etc. that means something to us.  If you happen to think our music’s worth more then we’re asking and have cash to blow, we’re not going to discourage you, you can name your own price at our Bandcamp site (insert link here) If you like what we’re doing, and take the time to twitter, facebook, blog, etc. that you like it to other people you know, that REALLY means something to us.  And if you’ve actually got the motivation to call or email a radio station, sirius / xm show, etc. and let them know how much you like what we’re doing… well, shit, you get the idea.  This has always been a band that has existed on the back of people’s natural enthusiasm for what we’re making.

We don’t know what the future will hold for music, and we don’t know exactly what it will hold for us.  We may not be the band to reinvent the system, but the beauty of being a musician right now is that you have direct communication with any fan that cares enough to listen.  You are important to us.  We promise to make the best music we possibly can, we just want to figure out what the best way is for you to hear it.

Thanks for being a part of this.
-IIIII”

The bundle was released on May 25^th, and I have to say, the single and remix of American Trash is beyond amazing. The lyrics, beat, and structure are clearly of the IPS variety with some seriously sick beats and full of the brilliant ingenuity that have been a signature of IPS since The Download EP. Both the single itself and the Starkey remix are included on the LP and the T-shirt designs are pretty rad all on their own. The bundle is definitely worth the price you pay and the LP is fully functional (just make sure you play it on a decent turntable- if not you’ll scratch up the nice sparkly finish). With over half of these packs sold, there are only 250 or so left. Jump at this chance and help support Innerpartysystem now and for the next two LP releases and maybe, just maybe, we will see them on tour sooner rather than later.

Buy the American Trash LP Bundle here

After taking the nation by storm during Warped Tour last year, old and new fans alike have been waiting for an announcement of the next installment of Innerpartysystem’s unique brand of musical sound. After a ground-breaking EP (The Download EP) and a full length self-titled album, fans are more than ready for new material after an 18 month hiatus from the Industrial Rock/Electronica trio.

Between leaving their label, Island Records, in June 2009 and the recent loss of Jesse Cronan (backup vocals, synthesizer, lighting design), those last 18 months have been nothing but boring, according to the band’s blog. They have posted new remixes of both Cobra Starship’s “Hot Mess” and 3Oh!3’s “Don’t Trust Me” on their MySpace, as well as remixes of old material of their own, such as “Last Night in Brooklyn” and “Obsession.” While these mixes kept fans satiated long enough for the band to get their bearings and start recording the album, the 2010 teaser was born.

Posted on February 22, the teaser, shows the band’s monetary-esque logo and the simple words “Get Hype,” along with a simple download button. Sparse, almost utilitarian, but plain and simple, and exactly what the fans want- a taste of the new Innerpartysystem sound.

Along with the teaser mix track that is making everyone’s skin crawl with anticipation, comes a video of Patrick and fellow band mates working on the new album, recording new mixes, playing around with new sounds for their live stage sets, tracking vocals, and… well… breaking things.

Although it is not a finite date for the release of their newest chapter, it will at least keep us on the edge of our seats until that information is revealed. For both old fans and new, Innerpartysystem will hold something new, exciting, different, and most of importantly, dance worthy. Check it out on the band’s YouTube page or on their blog, and well- Get Hyped. I know I sure did.

Written by Annastasia Gallaher

Rock, electronica, hip hop…oh my! Pac Sun Tour offers a diverse line up and it going into the show, I knew this could either be really scary or something truly special. It wasn’t long before I could confirm that this the latter.

For select major cities, a local band is given the chance to open the show after winning a Battle of the Bands competition. Headliners Saosin came up with the idea to help local scenes out. For the Kansas City show, piano rockers A.M.I.M. won the battle and kicked things off. I’m not sure if they just brought a lot of their friends or if they just impressed the audience that much, but people were really into their set. I could see some potential. They had great stage presence and had skills on their various instrument. They were unified and didn’t overpower each other, which would be easy to do in a young band. However, they still have lots of room for improvement before they can start taking over radio waves. Lyrically they are a  bit weak…”It’s been three years. It’s so sincere. The chandeliers have disappeared.” Um, wtf?

After A.M.I.M. was Eye Alaska. These guys might have been my favorite act of the night even if I thought some of their set got a little repetitive. I went into their set with a curiosity. I hadn’t really heard them, but I had heard that their pianist/guitarist is the brother of Thrice’s Dustin Kensrue. Eye Alaska stand out on their own and I after hearing them, while the brother connection most likely helps, they don’t need it. They don’t sound anything like Thrice, so the tidbit should just fade aways as some random trivia as they continue making their own impression on thew world of music. They were phenomenal and I think they’re poised to blow up as big as other popular warped bands likes Paramore. I’ve heard them described as “new wave,” but aside from the piano on a few songs, I don’t get that at all. They’re more pop rock/alternative. They’re incredibly hardworking too. The guys are doing acoustic instores at practically every stop and they’re down to earth. Even if their brand of music isn’t your style, their work ethic alone should make you want to support them.

I had similar feelings toward P.O.S. Hip hop isn’t my usual style, but I just wanted to support the guy. Again, you had yet another down to earth guy (in fact, all the bands on this tour were super down to earth, humble and genuine) that has music different than your usual expectations associated with that genre. Forget how Soulja Boy made you hate hip hop with his sleazy “Crank Dat,” P.O.S. actually has something to say with his music and he samples a wider variety of influences such as jazz. This is hip hop the way it was meant to be. The way that groups like Run-DMC envisioned it. Not those guys other guys on MTV that are wearing so many grillz you can’t even understand a word they’re saying.

True to their name, Innerpartysystem brought a party. With a light show that they say is actually a bit toned down from their usual show, they had carefully thought out their presentation just as thoroughly as their set list. The electronica beats effortlessly glided the party from one song to the next so the crowd keep up with “Don’t Stop” and other songs without a stop.

I’m not sure I can do headliners Saosin justice for their performance with a full review since I was off doing interviews during much of their set. From what I did see, I enjoyed. They are an alternative rock group with high energy and an edginess that makes them appeal to the screamo-sort of loves-to-mosh crowd, yet they have a softness and a vocal control that makes it so they’d still be pretty awesome for a guy to take a girl out on a date to see. With the way the various genres that opened for them and their own ability to appeal to various genres, I could see why they were given the headlining slot.

The tour continues until December 20. Check out additional information and dates here: pacsun.com/pactour.

PopWreckoning has interviewed all these bands. Check out the interview with Innerpartysystem here. The rest are coming soon!

Innerpartysystem’s always down with cereal…and that wasn’t the only knowledge Kris Barman (programming, guitar, synth) and Patrick Nissley (vox/programming) of Innerpartysystem dropped on me. We talked about their current Pac Sun Tour, upcoming album plans, cereal and they explained what “Butt Rock” is. Check out the full interview below:
Bethany, PopWreckoning: This tour just started about two weeks ago. How has it been treating you so far? It is a pretty diverse line up. Has that changed the audience reactions to your set?
Patrick Nissley, Innerpartysystem: We have a tendency to win people over. Our show is really high energy so rock kids will like it. We have some heavier sounding beats. I think hip hop kids like it. At least that’s what we’re going for. They might hate it.

PW: I know that your guys’ set is highly influenced by the light show, how involved are you in the planning of that?
Kris Barman, Innerpartysystem: Yeah. We built that. We did all that stuff. I’m serious. We went to Home Depot. Bought wood and bought lights. Then we figured out how to sync it all up with the computer. So we built that and Jesse [Cronan] (synthesizer, sampling) actually designed the light show.
PN: Yeah. We don’t actually have an ld. It is all synced to our computer.
PW: Yeah. That’s awesome and your light show is awesome and it seems like everyone else always hires their own light guy.
KB: We try to be as DIY as possible. We want to save money. We don’t want to pay anybody.

PW: Nice. I know you just released a “Winter Mixtape.” Tell me about that.
KB: A majority of that is Jared [Piccone] (drums). Jared does all the mixtape stuff. We just like putting more shit out there for kids to listen to. Music is free pretty much nowadays, so the more stuff you can put out and get them to listen to, well it’s just cool to let them here what we’re listening to and what we’re hearing. It is kind of what we’re listening to now and what we think is cool.

PW: So what are some of the bands you’re sampling now or listening to now?
KB: Listening to now… I’ve been listening to the same bands forever. There aren’t any new bands. I should listen to new music, but I don’t.
PN: I’m really into Hall and Oates right now.
KB: Hall and Oates is something you’re always into though.
PN: Um. Usually a lot of really obscure electronic shit that a bunch of dudes from Sweden do that no one has heard.

PW: Now, you’re all from Pennsylvania, right?
IPS: Yeah.
PW: It seems like you don’t hear too much about electronic-based bands from Pennsylvania. Is there a scene that I just don’t know about?
KB: Where we are from, the only scene is cover bands.
PN: I think Gwar. Gwar’s the scene.
KB: Gwar does all of it.

PW: So how did you guys get into it?
KB: I personally, I’ve been doing it since I was really young. I got into programming beats from I don’t know, 27 down, so I’ve always done it. I’ve always had an interest in it. I don’t know where it came from. When you sit at home on your computer, what else are you going to do? I love music, so I learned how to make music and I was like, oh this is really cool. I’ve been doing it ever since.
PN: For me it kind of started with like fruity loops in high school.
PW: Fruity loops?
KB: It’s like a really sh-well, actually, it’s not shitty at all, it is a beginner program, but it can do a lot of stuff. It is like beginner to pro. So you can make music.
PW: OK, I for some reason was thinking cereal.
PN: No.
KB: Haha, no. Totally different. I’m always into cereal though.
PN: I’m always down with Fruit Loops. That’s how I got into electronics. Cereal. Can we quote that in your thing, so it is a little blurb here?
PW: Innerpartysystem loves cereal.
KB: Cereal. What drives Innerpartysystem.

PW: Haha. We’ll see. My mom lives in Scranton, so that’s about as familiar as I get with Pennsylvania.
PN: There’s a lot of butt rock in Pennsylvania.
KB: Yeah.
PN: I’m going to say it is safe to say we coined the term “butt rock.”
PW: I would say that’s safe to say.
PN: Butt rock is where the drummer has the gotee and the lengthy hair. Always the ripped guitar player with the white beard and they play like a cover band.
KB: They do the “Jugh jugh jugh jugh jugh ooo.”
PN: Like really shitty breakdowns. There’s a lot of that in Pennsylvania.
PW: I really wish this was a video interview right now. So it has been about a half a year since you parted with Island. Is that a decision that has been good for you? Have you learned a lot since then? Do you still find major labels relevant?
PN: I’m about to drop some knowledge on you. We’re not on Island anymore.
PW: Right. It has been about half a year.
PN: Oh, right. Fuck me. I’m not dropping shit. It was a mutual thing. Island wasn’t doing anything for us. Obviously we didn’t sell three million records and become the biggest band in the world. We’re not fucking Lady Gaga. For us, it is more of an indie route and we’re trying to find that way.
KB: It’s nice now that we don’t have a label to talk to for the “big single” and all that shit.
PN: Yeah.
KB: We could make a song out of fart sounds if we wanted. No more of the chorus needs to be “bigger.” Make it “big.”
PN: A&R people say that a lot. “It’s just not big enough.”

PW: “Don’t Stop” was pretty popular in Kansas City.
IPS: Was it?
PW: Yeah. Last year you played our Christmas show.
KB: Oh that’s right. The Buzz.
(crazy announcer voices)
PN: You’re listening to the Buzzzzz.
KB: The Buzzzz. 93.3
PW: Haha, oh no. Not that. They’ll kill you. 96.5.
KB: 96.5 the Buzzz.
This continues for quite awhile
KB: AM Radio.

PW: So no label plans for the future, or sticking with DIY?
KB: Maybe. It depends.
PN: There are some people looking at us, but really we need to write the next record and see where it goes.

PW: Have you started planning it out at all?
KB: A little bit. It really needs to come to fruition. Like that word?
PW: How do you, well, you do a lot of remixes vs. original music-how do you draw the line between the two or is there a preference?
PN: Remixing is easy.
KB: Yeah. We love remixing.
PN: A lot of the things we create and I get most excited about are remixes. I don’t know if there is even a line to draw. It is just whatever rules. We could be writing a song and working on our remixes at the same time. We don’t spend like three days on a song and stop. We get bored on one thing and we move on. We have A.D.D.

PW: To wrap up since it is still pretty loud and I’m sure you want to get back to the show, do you have a favorite musical memory of the “Naught Decade?”
PN: Personally or music in general?
PW: Personally is fine.
KB: Last ten years?
PW: Yeah. You don’t have to be cliche too and say KC is the best or something. Just a favorite memory. Super easy.
PN: Favorite musical place or?
PW: Just favorite musical memory?
PN: Just playing a huge show.
KB: We played Projekt Revolution in the UK and there were 49,000 people there. That was huge for us.

PW: Are your UK crowds pretty different than your US crowds then?
KB: Yes.
PN: Yeah. For some reason, we did way better over there. “Don’t Stop” hit radio really hard and MTV and all that crap, so yeah.
KB: I think shows are better there. Kids just flip shit. Drinking age is lower, too. That loosens them up and fuels the fire. Kids, well, music is still thriving over there and radio is still good over there. They just know music better than in America. Americans can be boring or listen to just down music.
PN: Another way to answer that question: I think it is great the way electronic music is coming to the pop culture now. Definitely in the last five or six years, a lot more bands are using a lot more electronics, which I love since we are all huge electronicheads. A lot of the bigger bands, bands like Daft Punk and Justice, are getting huge.
PW: I’ve noticed that too. Sweet. Well, we’re wrap up there since it is loud and cold.
IPS: Cool.
PW: Thanks so much.
IPS: Nice to meet you.

Innerpartysystem: website | myspace | @ afentra’s vd party

This past Friday the 13th, 96.5 the Buzz hosted the free Afentra’s Big Fat Morning Buzz Valentine’s Day (VD) concert at the Midland Theatre. There was, of course, lots of booze, lots of dirty games like spin the bottle and a cock ring toss, and lots of drunk people slobbering all over other drunk people. I left this concert not only with free condoms and pina colada lube given to me by a drag queen, but also with a new appreciation for modern rock n’ roll.

The first band of the night was Innerpartysystem. Now, I must insert a disclaimer here and say that I am not a huge fan of techno music in the first place. However, I can’t for the life of me think of a positive thing to say about this band’s performance. I was more interested and more impressed with the crazy rave lights and smoke than the band itself, which is not good. There was far too much pre-recorded noise and synth. There was very little live performance that I could make out, and the few singing and guitar parts that were live, left much to be desired.

“Don’t Stop”, the one popular song that I hear on the radio and somewhat enjoy, was barely recognizable when performed live. The audience did seem to enjoy the performance regardless of this, clapping and cheering happily. Maybe it was all the booze they ingested, but as one of the few completely sober people in the theater, I couldn’t help but find myself thinking, “What the hell is being applauded here? I have a Macbook too, I can play with and record noises on Garage Band. I can also go to an arcade and stand by any generic space invaders game and hear the same thing.” Thoroughly disappointing.

Girl in a Coma was a breath of fresh air. I won’t go as far to say that I was blown away, but they were charming and enjoyable to watch. Part of the problems laid within the sound system. The drums dominated the sound. Personally, I needed to hear more bass, guitar and vocals, but Girl in a Coma is hardly responsible for how the P.A. system was being run.

Watching Phanie Diaz on drums made me smile. She has this way of swinging her arms as she plays, a quirk I’ve never seen before. Anyone who doubts the abilities of chick drummers has obviously not seen Phanie play. Bassist Jenn Alva has a way of playing that was very soothing. She seems to just let herself be taken over by the music. She played into the amp like it was the love of her life.

Lead vocalist and guitarist, Nina Diaz, was nothing short of brilliantly adorable. Her guitar playing was consistently incredible and the energetic dancing, leg pumping and crowd interaction was just great. What really got me, was her intense facial expressions. Her eyes grew so large and full of expression I could make out her pupils from where I was standing in the audience. The only thing bigger and more animated than her eyes was her mouth, twice as wide as the mike she belted into. Her face is her hallmark.

Last to grace the stage was Living Things. I felt nostalgic for a time period that I, myself, have never actually experienced. I was taken back to 60s and 70s, where music meant something more. Back to where music was a cry and a voice for a generation. When music was a way to say “Fuck you!” to the establishment.

Lillian Berlin, lead vocals, lyrics and guitar, is an undeniable genius. With the lips and hip motions of Steven Tyler, the hand movements of Mick Jagger,  just a hint of the Ramones, and the attitude of John Lennon, Berlin is not hesitant to make bold political statements. “We are recession proof people!” He yelled as condom balloons hovered above the audience. “I have an idea… This is my economic stimulus plan, for you… Stop paying your FUCKING bills.”

Eve Berlin played the bass with incredible talent, as he puffed away one cigarette after another. Bosh Berlin, whose name alone tells you he was born to be a drummer, did an astounding job live. Guitarist Cory Becker was impossible not to watch. He made the guitar incredibly sexy. Never in my life have I felt so compelled to rip my clothes off and streak across the stage as I did at this concert. I completely forgot that I was at a free show and felt I was experiencing something on a much higher level. History in the making, the new rock n’ roll, for our generation. The Living Things is a band we desperately need right now. They have my complete and utter adoration and support in everything theydo.

Innerpartysystem: website | myspace
Girl in a Coma: website | myspace
Living Things: website | myspace