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Interview: Max Bemis, Kenny Vasoli and Chris Conley (Rountable Discussion) - 11.24.10
 

Max Bemis, Kenny Vasoli and Chris Conley...

Interviewed by
Max Bemis, Kenny Vasoli and Chris Conley...This month I've been conducting interviews with a few industry folks and bands alike, trying to get a grip on "what it all means" after the first big decade of reinvention in every aspect of this business - distribution, marketing, D.I.Y. ethics, leaks, etc. To cap things off, I recently sat down with Max Bemis (Say Anything), Kenny Vasoli (The Starting Line/Person L) and Chris Conley (Saves the Day) to discuss their careers after being on a major label and continuing as established artists. We sat down, and after an hour, tried to make sense of the current state of the music industry and the bastard child that is music and business.

======

From each of you, to start things off, how does it feel to be off of a major label? What kind of went through your heads? Max, you're most recently dealing with this, but whoever wants to go first...

Chris Conley: We didn't have that much experience on a major label, because we were only on Dreamworks for a couple of months before they folded the label. I don't really know that much of what it is like. We did one video with Dreamworks. That was interesting. I definitely got to see behind the curtain, and got to know how major labels operate. I wouldn't say my experience is enough to explain what being on a major is like.

Max Bemis: I, umm, well, [Say Anything has] spent most of our career on a major. I guess you...on a purely financial level, you do get used to the perks of a label, that up until recently, would pump an endless amount of money into something until it worked. That isn't to say that there aren't amazing people that work at these labels. On a purely financial level, whether it's making a video or a deluxe package for your record, or something like that, there's an endless amount of money. If they wanted to make it happen, they could do it. For us, things started to change when the label no longer really...well, the resources diminished when sales started dropping for the label. We sort of saw them try to turn that around, and it was a good way to kind of get out of it. We haven't put out a new record, but whether it's the advance, or a budget to make a video or anything like that, that's where we'll feel it. In terms of positives and the important part, it is pretty freeing. Not only had it been freeing even if things were going great at the label, but also because labels are seeing so much crap and are falling apart and things are insane and they have to try and make up for the money they are losing. Even if it wasn't for that, there's the feeling of complete artistic freedom. Even if you want to make money and be a rockstar, and you decide that, you can still achieve that - as many bands have proved lately - that doesn't have to be your goal. If you want to do a record that caters to your fans, you can do it. Etc., etc. You can pretty much do whatever, because there's no one telling you what to do. Even the experience of writing this record and the freedom of putting it out, knowing how much fun we're going to have recording and putting out our next record is really gratifying and free, despite that we were on a cool label. No major label can give you that amount of freedom.

Kenny, your situation was interesting, because I remember Drive-Thru and then everything shifted to Drive-Thu/Geffen...it was this complete merger...

Kenny Vasoli: I think any label I've been on, has turned into this other label. I don't know if it was MCA at the time, but then Geffen bought out MCA and then didn't renew the Drive-Thru contract, so it was this weird thing there. I don't even know what happened with that line-up. Then we were on Virgin and then Virgin became something else. Then there were staff that worked on our records that then went to other labels from there. It seems like there's a common theme with labels, just constant cycling of people to different labels...it's really all just kind of, at this point, incestuous. That's not to say that I didn't have a positive experience on the label, because I did. You might get a different story from the rest of [The Starting Line] because it's easy to blame on the label. Sometimes it just boils down to what people want at the time. I was proud of how much we sold on a major label. By their standards, it probably was less than they were hoping to see. For me it was a great achievement to make those records and put them out. I would do it again in a heartbeat.

Is there a relief, not having the weight or pressure? Or is a label just a name?


Conley: I think the hardest part is what Max said. It's not having someone fund you. It is a relief, because you get to do whatever you want. But if you want to go make an album, somebody has to pay for that time. If you don't have a label behind you, you pay for it. It's kind of like a double edged sword.

It's interesting you bring that up. Someone said something on a post on the site along the lines of "Maybe if bands did have to fund themselves, it would weed out the crap just blindly being funded. Bands that are in it and believe in their investment as a business, will continue to tour and fund themselves."

Conley: Hopefully.

Bemis: I would imagine that's the case. I would find a way to do another record, even if we didn't have a label. There's no way I would just give up if no one was funding my record.

Conley: The stuff that's like a "flash in the pan," like Metro Station, won't be remembered six months from now. People will remember Say Anything. I'm sure the better bands will do it longer.

Vasoli: It's nice not having the huge recording budgets in our way, because there's this lo-fi movements happening. Whether or not you like the lo-fi recordings, it's bringing to surface these great songwriters who are forcing you to hear their song without having these bells and whistles in their recording. I think that's an interesting twist. Just making records for cheap nowadays.

Bemis: As someone who's talking, and that's where we're at right now, talking to several labels and figuring out the best home for us, if we were talking about major labels, even if you went to the right one, maybe the good that would come out of it, like Kenny was saying, you realize that records like that will pop out. At least from what I can predict. That's the next wave of what rock bands are going to be. More stripped down. Less overtly burning...when you look at a band and they are just burning money. They just scream to me of excess and b.s. machine. At least what I can see, that's kind of shifting back into the pop world. That's part of the pop world. That's what pop is about. Lady Gaga should not be any different than what she's doing necessarily. If you imprint that on rock and roll, at least to me as a music fan, that becomes more wrong. That's where things start to fall apart and become bogus. That's bad. For me, major labels may realize they can spend less on a record. If we were to sign now, we wouldn't be interested in spending half a million dollars on a record. That's not what I hear our next record as at all...There's definitely an old way of doing things that's not working.

Let me ask you this, what do you guys think about label identity? Of course, not on a major label scale, since they have to adhere to a mass audience. What do you think of identity, for example, your wife's band just signed to Equal Vision. I know there was kind of an uproar of "why?" in the wake of the news. When I heard that through some networks a few months back, even it took me by surprise. I was associating that with what I knew of Equal Vision to be. Chris, you used to be on Vagrant, who has taken a turn to a more eclectic indie movement. Is it necessary with such a flooded market to find a home with more of an identity? A way for kids to discover you?

Conley: It's cool when labels have an imprint on a certain type of sound or whatever. Generally, they care about that type of music...I think, more importantly, it's about the quality of the songs. If you're on a label like that, that cares about a certain fan base, you're definitely going to get heard by a certain audience, which is good if the songs connect with those people. When we signed to Equal Vision, they were just a hardcore label. We'd go on tour with bands like Bane and connect with one person at each show. Just because they were fans of this label, which was a genuine, honest label who cared about that world of music, they had genuine, honest fans that cared in a certain way. I think it helped being part of that.

Kenny, did you feel like being part of Drive-Thru was a pigeonholed, especially with all the later signings thereafter?


Vasoli: I'm sure people did attach that stigma to it. We never thought of ourselves as a "Drive-Thru" band. We were really only on that label for like a year. It was at that time when they were hitting and all those bands were doing well. I don't think it's a horrible thing to have that attachment, because there were also bands like RX Bandits and Finch that were doing stuff besides pop-punk.

Conley: I'm not sure how much it means in the grand scheme of things, if you're grouped with certain things. The Beatles were teeny boppers. They played with Herman and the Hermits.

Bemis/Vasoli: Exactly

Conley: You know?

Bemis: Ultimately it doesn't matter.

Conley: The songs will transcend if they're good enough.

Bemis: I guess it doesn't hurt. Kind of like what [Kenny] was saying. It's not a gimmick, but with marketing, anything that a record company can do to support you, in my eyes, will only go so far....You can sign to the best label that makes the most sense to you, but if you're not writing the best record or the timing isn't right...one of the things I am seeing is a lot of that going on, where label identity is becoming a little too important. Just because you're signing to Merge or Sub Pop, that doesn't mean there's this..ummm...

Expectation?

Bemis: Yeah. I don't know. It's great that a label can hold itself up to a certain standard, but music is so subjective. That's the real problem with the music industry. You could say it's the second coming, but it may not do anything for me. Maybe for the next guy it is?

Well, let me ask you this - what's the bigger problem? Is it the market share of bands? To think in order in my mind, Saves the Day has been around a little longer than The Starting Line, and Max, you guys the latest. What would you say the market was like when Saves the Day started Chris? Just being a touring band before the Internet was big?


Conley: Like what helped?

Well, one of the big arguments for breaking out now is that the market is flooded with bands due to Myspace and record their own?


Conley: Yeah. Definitely, there is a larger pool. When we started, there were still a lot of bands. We would play on one weekend with seven or eight bands. Then the next weekend with seven or eight new bands. There's tons and tons of people playing music. It's been like that for a long time, since rockstars became cool. For a while, it was like the honest music that really connected with people was driving the underground, and then when Myspace came along, with profile pics, it was haircuts. [Everyone laughs] So, right now it's haircuts. If you get a good haircut, you can get marketed now. When we started, it was "put up your flyers" or "handout your cassette tapes" and just play your heart out. Go to the next town...

Would you say that's missing these days?

Conley: I think it's back and forth. There's this honesty. There's people that will do it because they love it. Then there's people that are like, "That's cool. I want to do that!" It's that back and forth. There's people, "I want to do that. That's cool." Then there's kids going "Fuck, I feel like this." So there's "This is what it is" and "I want to do that." It's two things. Right now, we're in the "I want to do that" era, because before this there was "This is what it is" era. I think music just goes back and forth like that. I don't know how Nirvana came out of nowhere with alienated lyrics. It was just "this is what it is" to them. Then a million bands were like "I want to do that" with all these bands wanting to be Nirvana. Then it was something else. Rap-metal. You had Rage Against the Machine. That was them going "This is what it is," and then Limp Bizkit going "I want to do that." It's just a back and forth forever in waves.

So someone is reinventing the wheel and then a bunch of people are just riding it?

Conley: When there's a bunch of bullshit in the marketplace, and a ton of people see it and it feels superficial, chances are there are people [in the underground] saying, "This sucks. I hate everything. I'm not comfortable in this world. I'll just produce something born out of that alienation." Then people say, "Wow, it feels so good, because deep down, I feel so alienated too." It's that, on and on and on. I think, underneath the haircuts, there is real expression brewing. I lost hope. I really did. I hear Max's music and "Wow, that's cool. okay. It's not just 'suck' forever."

Well, I remember when Absolutepunk came about. I was just getting out of high school and entering college. I was already listening to Saves the Day and The Starting Line. I remember getting ...is a Real Boy in my inbox at KLSU. At the time, that was when AP.net was like "Check out this new band Fall Out Boy," or "Oh check out Say Anything." In a way, labels and publicists were noticing this blogging archive and Pitchfork was getting big and Funeral came out - for you guys to be around for a while, and Max for Say Anything to see this help your band, what do you think of labels taking notice of following online writers, looking for that next thing?

Conley: Sure, labels are always looking for that new thing. Even if it is a band that's established and been doing good things like Saves the Day. We're not a novelty or GAP model kids.

Vasoli: It definitely was a time for bands for sure. I remember being on Warped Tour, oh, in 2003? We were sharing a bus with Brand New, and they were coming off [Deja Entendu] and their contract was up with their label and all these majors were just drooling over them. It was funny, because every day there would be trays of sushi sent from Epic or someone. Andrew W.K. would be coming to the bus saying how they should sign to Atlantic. It was for real. I don't think you'll see that as much today. Not like that. I think Brand New is the exception, because they had a little something special to offer. They're probably doing that with electronic dudes now. Like Deadmau5 is the new thing - just following trends.

Bemis: It's funny, because I feel really fortunate that that happened for us. Probably bad for the music industry in a certain way. I don't know why, but when I look at it now, whether you bring up The Strokes or buzz bands where they were like, "We should give this band as much money as possible to be ahead of the curve," when you would read blogs or SPIN say "You should hear this band," they would get recorded by major labels. The funny thing, as you said, we came up a bit after The Starting Line and way after Saves the Day, and we lived in L.A., which was the center of that mess. I really thank God that it actually worked out that way. From the second or third show we were emerged in that. There were people like Chris playing, this East Coast thing, where it was just so cool playing with Bane, where I was playing with the The The who were trying to be cool and looked all cheesy to impress labels. We went to a good private school where all those bands were coming out of that scene in L.A., and it made me feel so weird and creeped out on some level. Good thing we didn't sign to those labels at the time. There were some cool people, not to diminish it. There was also a ton of bullshit. They were like, "This worked for this band, now you must do the same. You're going to follow this trend because that's what is working now. Whether it's the next Starting Line or the next Blink, you guys have to be that," rather than, "You guys are special. You can be your own entity." We just turned away from all of it. I was like, "Screw this. I'm going to college for a while." I turned away from the music scene. I got to live life a little bit more. That gave birth to the darker side of my band. That's kind of the distinguishing trait of our band and what we do, is the disgust of which we are talking about right now. "Let's write something that no one would want us to do." That was ...is a Real Boy.

What do you think is worst? Is it the majors trying to buy up everything, or is it the critics like me? The assholes. I feel like we live in an era where there's the "new featured band on Purevolume," or, case in point, The Narrative are staying with me for their show here tomorrow night. I've had discussions with them about not getting caught up in the "buzz" of things at the moment. That's not to say I don't want you to succeed, but as a critic, I could hate your next record, because I'm the dickhead. So that being said, is it the flooded market or the number of blogs controlling what is good or bad?


Conley: It's a little bit of everything. Right now, everything is about that immediate gratification more and more. I think it's a mixture of business being a business. Making a dime. Bloggers having to write about all the crap that comes out. The most important thing to me are the bands. Right now it's about getting famous. That's why there's shitty music, because they want to get famous. To me, it all starts with the music. All of it. Imagine if Britney Spears sang opera. It would be different. It wouldn't sell things. It's not just because she's this pop princess. The music she was singing created a reaction. I wouldn't say it was anybody's fault. It's just the times. Right now, it's "get famous."

Bemis: That's super true. When you first posed that question, I was thinking, "What is it?" I was going to say it's none of those things specifically. Not to get punk rock on it, but it is the machine. It's the entire thing and how it works. It goes into the government and the machine. It's a business.

Conley: Yeah.

Bemis: But [Chris] is right. When you peg it that way, you take the responsibility out of the person. It really is up to each individual. As a blogger, a journalist, you can be truthful and generous. You don't have to be a "dick." You aren't necessarily a pompous asshole because you're in a band. I just think it totally is...if more people took more responsibility and loved life more and wanted to breakout of what I was talking about - the machine - I think it's possible to not only do it in your own life, but also in society. I think it's about taking more responsibility for themselves.

What do you think about all these new business and distribution models coming out? Bandcamp or Kickstarter. A way for bands to kind of do it themselves. Does that go back and force most of the responsibility on them to fund themselves on touring, instead of getting signed, getting the money, a few tours and then breaking up? Do you think that it's a) a good thing to force that responsibility of investment back into a band, because at that point, your band is the business or b) induct the Radiohead model, which is still questioned under the idea of whether a band is established or not?

Conley: It's hard to say. Everything has kind of downsized a bit. Bands might have to just make a record they want to make and go out and tour and if there's a label, just give it their best shot and see what happens and trust what happens. Hopefully bands can be more brave and take risks in what they believe in, instead of just taking a paycheck. Trying to make music that is popular. We'd be lucky if it started to go back that way. I think it is a good thing that bands have to take initiative and work. The expectations of the bands can be more realistic for each band...Then they're just trusting their own skill or passion. We'll definitely have more honest music out there, which will be great. It won't be good for business. Business is business. Music is music. The marriage between it should be open.

Vasoli: I like the idea of Bandcamp, but I can't say I've ever bought anything off it. I don't know why that is....I've heard a lot of stuff about it. It's great to have that sort of new avenue for music, because Myspace is, well, you know, falling apart.

Naw man, they've got that new logo.

[Laughs abound.]

Vasoli: Yeah. Kickstarter is cool too, because I've had friends in bands make records off of it. At the same time, I'm in this weird, lost place with new technology. I grew up with my mom taking me to the record store and dropping me off as she went and looked through dresses as I searched through stuff. I definitely miss that day and age. While the Internet is cool and so easily accessible and people are trying to get money out of it, it's such a lost cause because it's free on another website. It's harder to put it in someone's hands to get people to pay for it. I think people need to get their minds back into the physicality of music. The idea of the vinyl with the download or DVD with it. Something kids can get their hands on. It's a collector's item if you get a first pressing of something you think is going to be really special to the times. That's where I feel it's headed. Maybe Bandcamp can be the next iTunes, but I don't even see that happening.

Bemis: Yeah, I don't even know how iTunes can be the next iTunes...

Well, they have The Beatles now...


Vasoli: [Laughs] Yeah! They have that...

Bemis: It's, to me, I'm ultra cynical about music downloading and sharing and where it's headed. In my opinion, I think people are going to stop paying for physical copies, definitely. I think they'll stop buying off of iTunes, unless it's your favorite band - which is cool. I think live shows and merchandise is where it's at. Even though it screws the entire thing and how it works. Everyone is 75% more poor because of it, and that's not cool. Honestly, I never really saw that much money from record royalties. It was mostly from the live show, publishing, getting your song into a movie or television show. That stuff will always happen. Kids will always want a band's t-shirt, unless there's some weird movement where that's not cool. Kids will always want, to a degree, to see live bands. You don't have to come up with a new site with a new gimmick. I just want to make a record that's going to make people who treat us as their favorite band, download the record and pay for it. That's a few thousand or whatever. Then the rest of them, I guess want the song on the radio or a television show. That will always happen. Then you will sell more records. You will sell more merchandise. More kids out to show. It maybe, like Chris said, gets shifted in a lower gear, but the soul, the music, is all there. Kids are still going to be craving it. I still do, and I'm burnt out on music. I still crave new good bands. I'm not going to detour the people that are passionate about it from making music.

Conley: I think it's interesting too, this conversation was nowhere on the horizon before. Business was not at all, anything anyone was talking about. It was never "Oh yeah. I want to sell this many albums. I want to be on this magazine cover. This is how I want to succeed." It's just the reaction of commerce that came out. Suddenly everyone can buy everything easily and it's so in your face.

Vasoli: Yeah. We just wanted the kids to mosh.

Conley: You just wanted to play.

Vasoli: Yeah.

Conley: VFW Halls for your friends.

Vasoli: You wanted your friends to sing along...

Conley: If there were five of your friends there, it was a show. Then everything ballooned. Then Senses Fail sells 300,000 copies of their first album because they have 400,000 fans on Myspace. Now it's not as exciting because music is trying to be popular and there's a lack of honesty in it...now, because there was this big explosion, people are like, "Where does it go? How does it get bigger?" It's already bigger than it seemed like it's going to be. That's the interesting thing to inject into the conversation that business was not even on the radar. Every interview we do, it's like "What do you think about the industry?" I'm like, "Gee whiz...I guess I've never really thought about it."

Vasoli: You don't want to think about it.

Conley: The thing about it is, I've never really thought about it. The closest time I've ever really thought about it is when they sold our label a month after our record came out. I thought, "This is bullshit." This entire system is flawed. It's not about music, it's a business. All the people at all those labels have a job and their families have to eat. They have to perform their job and they have to turn a dime so that the shareholders, like Mrs. Jones and Mr. Smith, who come to the meetings and complain about their stock and why it's dwindling. They are there to please their shareholders and keep their jobs. That was the closest I've ever thought about the industry. Then it was back to square one. Writing music. Playing shows. Feeling lucky doing it.

Bemis: Definitely. That's what I take the most going back to your original question of being off a label. Who knows, we may sign to another one. I know that the specific experience that we went through, it gives me confidence that people like Chris and Kenny, who sort of came out of that original mindset and respect me as a person and respect my band as not bull crap. I can say as a guy with confidence issues, it sounds like the journey that Chris underwent with Dreamworks that was thankfully brief, for me, I feel like I went on that along a protracted, really long level. It finally ended with us leaving our label. There were a lot of great people at RCA. It wasn't like "We're finally free of the devil!" It was like, "You need to know how to sell yourself. How to be on the cover of a certain magazine. How to carry yourself a certain way." I finally saw that it got us to a certain place, and beyond that, it did nothing. It is in no way substantial in anyway true to the core of the band or our fans and about feeling lucky and blessed and not being cooler than anybody....this tour, it's so crazy that this tour happened around the same time we left our label and that I have this complete freedom on our next record. I have this rabid audience - and who knows if it will last our not - but I don't think the dynamic between the artist and the audience is about selling yourself...I think that can be a pure interaction. That is the core of what being a musician is about - going out there and making a connection. It was a long protracted lesson in what I wanted to do. Did I want to go be a professor or a doctor or something?...I love writing music so much. It isn't because we were in this magazine or this level of monetary success. I did have to learn that over time, because they hammer it in your head for so long. This is a part of it, you can't deny it. You have to play the game. But you really don't have to play the game. You don't have to let it run your life. It's risky, but when you look into the hearts of the people who have given themselves away to the machine, they're not as happy. They're not as fulfilled or joyful. To live in an existence where you're made into this commodity, that's a miserable existence. They may look like these shiny people, but they're not. It's a different type of miserable to see these people, and it may look like fun, but it's a different type of misery from say being tortured...When you're a walking mannequin, that's misery. I'm glad we were never that...

When you become just a product...


Bemis: Yeah, when you buy into that. When you're no longer humble. When you've completely sold yourself and have become successful in doing so, there's something wrong. Even The Beatles, one of the greatest, if not the greatest, rock bands ever. They combusted. They couldn't take it. They weren't successful in the idea of this fifty year old enterprise that continues to go on and on and on. They were these screwed up guys. Not to say that that's cool that they were screwed up, but even the most successful bands don't "buy" into it. If you don't buy into it, that's part of the spirit that makes real rock and roll, as opposed to just garbage.

Any last thoughts guys?


Conley: Time for bands to be brave.

Not just in what you put out musically, but...

Conley: In believing what you put out only. Then just trusting what comes. We can't control what comes anyway. You can try and look the part, but people will see through it anyway. Who's going to be listening to Christina Aguilera when they lose someone they love in their life, or even that special night with your wife. You're going to put on Johnny Cash or something or Miles Davis for that matter. Things that weren't "flash in the pan." Who listens to Elvis? I like "Love Me Tender." He didn't write it. He disappeared in his own time and was a joke when he came back. Who is Eminem? I still think these big stars that are purely fame base last? Really? Peter Frampton sold 17 million albums in the '70s and broke all The Beatles' records. I couldn't name one of his songs. I heard one on the radio. It was pretty good. When his music came out, he was the best thing since sliced bread. The history of music is riddled with stories like that. Even Bob Dylan complained to his manager because his manager was spending more time with Peter, Paul and Mary, because Peter, Paul and Mary were selling albums and Bob Dylan didn't sell shit. It's just about doing your thing, and whatever happens will happen.
 
Displaying posts 1 - 15 of 68
08:59 AM on 11/24/10
#2
rbf737
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As a musician myself the whole model today depresses me and most of this just reminded me of it.

My favorite bit was when they hit on what would happen if there was no funding, if artists had to cover their own record costs to put their music out... then you'd be left with the best art in my mind or at least only those who are serious enough about music to really struggle for it which is a step in the right direction as far as I'm concerned.

Good interview tho, Adam. Kenny didn't say as much, tho I know Max has a way of talking ha.
09:34 AM on 11/24/10
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KennySims
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Absolutely love this interview and Chris, Kenny and Max.
10:08 AM on 11/24/10
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irthesteve
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Hell of an interview, very good stuff
10:33 AM on 11/24/10
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IamTheINDUSTRY
glory glory
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one of the best things i've ever read on this site.
10:38 AM on 11/24/10
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bradsonemanband
I make music.
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B.a.
10:53 AM on 11/24/10
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Chemical Love
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I only skimmed through it but it seemed pretty interesting.
10:55 AM on 11/24/10
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Rid Ickulous
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My favorite bit was when they hit on what would happen if there was no funding, if artists had to cover their own record costs to put their music out... then you'd be left with the best art in my mind or at least only those who are serious enough about music to really struggle for it which is a step in the right direction as far as I'm concerned.
.

Really? I thought that was the most ridiculous thing they said.

Most people, when they don't have funding, jump on whatever is popular right now because at least the association will "get them somewhere". Breathe Carolina and Millionaires both have records fully recorded in GarageBand.

It might not sound that bad, but a cookie-cutter vision paired with zero funding makes for all the absolutely atrocious bands whom people blame myspace for.

They don't utilize it to "stay free", because working day jobs to save up isn't "staying free" in their opinion. There are no filters anymore and anyone can put anything out there.
11:21 AM on 11/24/10
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Nick Le
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Fantastic read. Love all those guys.
11:41 AM on 11/24/10
oldwirehands
billionsandbillions / Chris
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Music should not be a product, its a language. Its time for bands to stop chasing $$ and fame statuses. With new technology and sites, people can make music at a very low cost, and it can still get great quality sound. The only thing that should matter is that people enjoy what you do, and that you enjoy what you do.
11:52 AM on 11/24/10
Argentine
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Interesting idea. Would love to see more interviews like this on the site.
11:53 AM on 11/24/10
Alex DiVincenzo
www.alexislegend.com
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One of my favorite features on the site in a long time. Awesome job, Adam!
11:57 AM on 11/24/10
jeffrayisrad
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Great read. Three respected bands
12:07 PM on 11/24/10
Drums4life97
mattwelsh
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Into it!
12:28 PM on 11/24/10
Jonathan Bautts
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Bravo Adam!

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