My Epic make post-hardcore with some obvious Thrice influence, so when My Epic released “Ghost Story” in the same week that Thrice released “Blood On The Sand” I declared that “the student has become the teacher”. My Epic started making music as good as peak-era Thrice with Yet in 2010, and then they released an album in 2013 that is debatably as good as Vheissu or The Artist In The Ambulance in the, umm…epic, Behold. “Ghost Story”, which features Hands and Everything In Slow Motion frontman Shane Ochsner, was the first single released from the Viscera EP in 2016. Go give it a listen, and make sure to stay for their back catalog.
I stumbled upon Postiljonen’s music almost two years ago. I checked out a few of their songs on Youtube and then immediately purchased their blissful debut album, Skyer. After enjoying that album for several months, I was stoked at the announcement that they were releasing a new album in early 2016. Upon hearing Reverie the first time it was obvious that my anticipation was warranted. It was chock full of more of that synthy goodness that I loved on Skyer. While Reverie didn’t have any songs quite as gorgeous as “Atlantis”, it did end up being the more enjoyable album overall.
One of the many standouts on Reverie is “Blood Flow”. Mia Boe’s vocals and the icey synths are always highlights in any Postiljonen song, but the lyrics are also quite excellent on this one as Boe fights to get past the “darkness” that she fears in her significant other. Her vocal inflections and breathiness make you feel her pain even without her singing things like “It just feels like giving up”, “like the stars won’t shine”, “all is dark”, and “down, down, down we go”. Go ahead and click play and enjoy the soundtrack of feeling better about your own relationship.
The band now known as Rare Futures went by the name Happy Body Slow Brain up until their 2016 album, This Is Your Brain On Love. Their frontman, Matt Fazzi, is a former member of emo-ish heavyweights Taking Back Sunday. To be completely honest though, Taking Back Sunday were never anywhere near as enjoyable to me as Rare Futures are. This band somehow manages to sound like they are both from the past, with their smooth harmonies and 70’s prog tendencies, and from the future, with their electronic, atmospheric, tight playing.
Fazzi tells Ineverglow, “‘This Is Your Future’ is a self-help song I wrote to pull myself out of a depression I was going through relating to my struggles pursuing music. ‘This is Your Future’ deals with love as a burden – whether for a person, a dream or a one-man crusade to dismantle a government-led alien coverup – and the struggle between allowing isolation to overtake you and choosing love, no matter its weight.”
I, for one, hope Fazzi doesn’t get so discouraged that he completely withdraws and quits making music, as he is truly a gifted artist. His struggles are the reason I write about music on this site: I can’t stand the thought of another great band throwing in the towel because there is no monetary respect for their art. So, I do what I can to share with the world about the music that I love in hopes of it making its way into the ears of people who will become new fans. If the artist I’m writing about also wants to dig up some dirt on what the government knows about extraterrestrial life, well I’m cool with that, too.
Jimmy Eat World returned in 2016 with Integrity Blues, my favorite album of theirs since Chase This Light in 2007. The album is loaded with the catchy heart-on-sleeve power-pop songs that make me adore this band. It took me quite a while to finally decide on my favorite from the album, but eventually “It Matters” began to make itself known as the standout. It starts with a nostalgic piano-bass-drum beat that brings to mind something The Cure might have used on Wish. In true Jimmy Eat World fashion, the chorus is what really makes this song great. Singer Jim Adkins has a way of making heartache sound almost appealing when he puts such a beautiful melody over lyrics like “With a quiet face, I break, I shatter.” In some ways it seems futile to write about a song like this. Trying to explain to someone what they should be appreciating about a Jimmy Eat World song is like trying to tell someone why they should like chocolate. Just taste it and you’ll know. It’s just good.
By David Martin
Album: Dear Me
In Brief: Dear Me is every bit as complex, immersive, beautiful, and haunting as Owel’s self-titled debut. Both albums sit right on the cusp of greatness, and I’m honestly having trouble figuring out which one I like more. It’s a good problem to have.
Owel went from “Never heard of ’em” to “OMG these guys are amazing why haven’t more people heard of ’em?!” in my mind pretty quickly. Stylistically, it’s hard to describe exactly what sets them apart from a lot of the other indie rock bands I’m into. Lots of bands have these long, exploratory song structures, or are instrumentally very lush, or are cryptically poetic, but Owel seems to hit the sweet spot on all of those things, where there’s more than enough beauty to keep it accessible, yet they take more than enough detours to keep things unpredictable on the first several listens. A lesser band could have easily painted themselves into a corner by opening their very first album with a track as hauntingly moving as “Snowglobe” – which in my mind is still their signature song, and the starting point I’d definitely recommend for anyone new to the band. But there was so much else to love about that album, as there was about the four songs on last year’s Every Good Boy EP, which was apparently comprised of the songs that got jettisoned from their second full-length (or else were just to good for the band to sleep on until they could get that second album finished). Even when they’re doing seemingly straightforward, upbeat indie pop, there’s a decent amount of lyrical intrigue and musical complexity to it beneath the surface. The band functions so cohesively as a unit, that while my attention is most often drawn to Jay Sakong‘s lead vocals changing on a dime from intimate to intense, or to Jane Park‘s stirring violin and keyboard melodies, or to Ryan Vargas‘s exhilirating drum fills and occasional use of polyrhythms, there’s so much good to say about the way that the fivesome all play off of one another that I often can’t pick out the single MVP in a particular song. Owel is certainly still a “rock” band due to the prominent use of guitars, but their songs can just as easily be draped in icy keyboards or staccato strings, taking their sweet time to unfold into the climax that you pretty much always know is coming. It’s hard to do this sort of thing without those climaxes becoming predictable and cliched, so it says a lot that after two albums and a EP, 27 total tracks from this band thus far, I haven’t seen any signs of them starting to repeat themselves.
The band’s sophomore album, Dear Me, just came out in November. It feels like I was waiting forever and a day for this thing, after first being turned on to the band in early 2014. For a lot of bands starting out with such a promising record as this band’s \debut, there’s nowhere to go but to start dismantling fan expectations and come up with something stylistically more broad, but also less coherent as a result. Second albums are generally difficult for this reason. Owel, however, is in the rare position of having found a way to enrich their sound without any obvious growing pains or pandering to a wider audience. The twelve new songs on Dear Me would fit comfortably alongside their previous work, and yet there’s something more dark and dreamlike about this album that feels like a bit of a progression. Opening with a few of its slower, longer tracks is a move that reminds me of Elbow, a band that’s very gradually become a favorite of mine despite defying my expectations that the punchy, catchy stuff must always be upfront. You can also hear the obvious influences of Radiohead and Sigur Rós in the textures and moods of many of these songs, though I wouldn’t say Owel is as deliberately subversive as either of those bands. “Breathtaking drama” is more their speed. And there are definitely a few glorious up-tempo numbers on this record, but that’s a place for the band to visit, not so much for them to live. Dear Me is over an hour long, and it asks a lot of a brand new listener, but like all of the aforementioned bands, their music is definitely worth the patience it takes to let the songs slowly seep into your memory banks. There’s not a single dud track on this record, so there’s a very good chance that after three or four listens (and I recommend headphones for this, or at the very least a quiet room with no one else in it), several of them will get their hooks deep into you and refuse to let go.
Who starts an album off by telling you to slow things down? Well, Owel’s not the first to do it, but it’s still unusual. This ornate song feels a bit like a waltz that occasionally steps on itself – they’re deliberately messing with our perception of the time signature here, just as they did on “Razors”, and it evokes a sense of awkward beauty. I love how the violin meshes with the crashing cymbals in this song’s melodic refrain, while the guitar forms these little decorative curlicues around it. Jay begins the song cycle by pleading with a lover to pause and take a breath, and ask herself if she’s really ready to leave or if she could stand to just wait a while and let him sort things out. I love how there’s this little embellishment in his vocal during the second verse when he sings “Just say farewell, southern belle”, and he stretches out the word “farewell” as if, just for two seconds, he wanted to be a soul singer. The off-kilter swaying motion of the song develops into something much more intense as the band gets down to business at the end of the song, with the drums going into overdrive and the backing vocals throwing their weight behind Jay, making that last minute plea for peace and quiet despite everything seeming to speed up and get more intense.
2. Pale Soft Light
A six-minute opening track with a seven-and-a-half minute follow-up? Owel is clearly in no hurry here. The thing is, the pace of these opening songs isn’t super-slow, per se, but I’d definitely refer to both of them as complex ballads, especially this one, which starts with the precise ticking of a guitar arpeggio, soon joined by the plucking of Jane’s violin strings, giving me the feeling that it’s counting down to something. You wouldn’t consider this a “rock” song in the conventional sense due to how it seems to focus on everything but the guitar as it slowly develops. But pay attention to both the vocals and the drums, and how they build up from a sort of careful tiptoeing at the beginning to a maelstrom of intensity at the end. This one’s more about setting a mood than hooking you in with a memorable riff or chorus, but when those drum fills finally come rolling in and Jay’s voice reaches its edgy peak, it’s truly a powerful composition to behold. And then it even has time to wind down a bit by returning to the opening arpeggio before a sudden snap of the fingers snuffs the lights off for good. I truly have no idea what this song is even about, but I really enjoyed the time Owel took to fully explore it before moving on.
3. Too Young to Fall in Love
Alright, so you wanted a strong beat and a catchy riff? You’ll get your fix here. Though simple and even a bit repetitive, the guitar riff and the electronic crackle of the drums set a wonderfully icy mood, serving as one of the closest things to a traditional “radio rock” sort of hook you’ll get on this album. Jay’s lyrics are in top melancholy form here, lamenting a sort of self-inflicted curse that renders him unable to be content in any one place for too long. This was one of the first pieces of the puzzle that slid into place in my mind, allowing me to go back and give “Slow” some context after the fact. His youth seems to be detrimental to his ability to make a commitment, which is why she’s apparently so ready to up and leave him and start over with someone else. His vision of a “My bride in the mirror/The one I’ve yet to know” seems ripped from the diary of any hopless romantic, but he knows it’s a dream that he keeps sabotaging. While this song could be considered to have a “chorus” in the conventional sense, I almost feel like the song’s true refrain lies in its wordless guitar hook. The band does such a good job of weaving their instruments throughout the verse and bridge melody in order to bring us back to that simple cry for help to break the pattern.
4. Be Quiet
The simple strum of an acoustic guitar makes me think this is gonna be a more laid-back, “coffeehouse Owel” sort of track at first. This mid-tempo tune certainly seems like the kind of thing that would translate well in an unplugged setting, but once the cascading piano melody and the violin come in, it develops into more of a majestic, chamber pop sort of tune. By the time the climax hits, the guitars have switched to full-on electric power chords, and the group vocals have become a bit of a sing-along, we’re almost in full-on Britpop mode, though I think this time around they’re pulling it off a little more effectively than they did on “The Unforgiving Tide” (which was my least favorite track on their debut). While this isn’t my favorite thing for Owel to sound like, I’m intrigued by how the anthemic mood masks the depression inherent in Jay’s lyrics. Dude just needs a day to lie in bed and not do squat. Maybe a year, if the lyrics are taken literally. His words might seem a bit petulant, but he’s really waiting to find his voice again and believe he’s got something worth saying that the world would actually want to hear. Though it’s a small thing, I find it amusing how he says in one of the verses “They might say I’ve given in/But I’ve given up, and there’s a difference.” I feel like he might be the first songwriter to use the phrase “giving in” as something other than the result of being painted into a lyrical corner after saying something about giving up. I wouldn’t say that the song makes this difference 100% clear… perhaps “giving up” is more like a conscious choice to quit while you have something left to salvage, while “giving in” is more like being so battered that your structural/moral integrity buckles under the weight? The thought of how that meaning changes subtly with a different preposition certainly teases the part of my brain that likes to nitpick the English language.
5. Paper Hands
One of the few truly upbeat tracks is up next – I would say it makes sense that this is also the album’s shortest tracks due to its faster pace (at a comparatively scant 3:45), but I’ll get to a track in the second half of the album that defies that rule. This one has a bit of cryptic sentimentality to it – Jay is dreaming about what he will do when he and a lover have grown old together, and for whatever reason it involves sitting down by the kitchen sink and washing her paper hair with his paper hands. (Should I point out that paper and water don’t mix well? I’m sure that wasn’t an accident.) He doesn’t stick with the metaphor long enough to make a fully developed story out of it, but the snapshot it does provide is at once wistful and tragic. As he holds the soft, high notes on the chorus while the drums and guitars busily breeze on by, I’m reminded quite strongly of track five on their first album, “Nothing’s Meant”, which I can’t help but feel like this one must be referencing in some oblique way.
6. I Am Not Yours
The album’s first half concludes with a six-minute epic that was another one of the first tracks to really grab my attention. While crescendos galore are all but guaranteed on an Owel record, the one in this song may be one of the band’s most devastating, as the entire song seems to be trying to wean two lovers off of the idea that they are each other’s soulmates and saviors. The way Jay sings it is so beautiful, yet his words are so devastating as he underscores the temporary nature of their relationship: “Though we suffer from the same disease, we both suffer differently/And though I do adore, you are not my cure/And I am not yours.” It seems almost nihilistic at first, but there’s something compelling in how he relinquishes a sense of ownership here, as if to say we never know how long we truly have to share with someone, and worrying about that could sabotage the potential beauty of the shared time we have left. Owel gracefully reminds me on this track of why I’m glad they’re not a heavier rock band. The guitars and drums get incredibly loud as this one boils over, but the way they started with a graceful, melodic approach before shifting the tone of the song and blitzing us with a wall of power chords is a great example of less being more. I get chills when Jay slips into a startling falsetto right near the end: “This is not your heart to break… You’ll break it anyway!” A lot of rock bands going for this emo of a climax probably would have screamed that line. And it would have sounded predictably goofy. But the way he sings it here is, quite appropriately, heartbreaking.
7. Steal the Moon
Despite the two songs sounding nothing alike, I can’t help but hear the wintry keyboard intro to this song in my head whenever I recall the ending of “I Am Not Yours”. The hand-off from one song to the next is just so gracefully done. This one maintains a dreamlike state throughout, the syncopated rhythm of the keyboards giving it an almost wintry feel, while the drums and occasional electronic effects subtly clash with that rhythm here and there, trying to insist on a 4/4 beat. The result is a slight aural dissonance that pairs well with a lyric about a man being confused for someone he’s not. No matter how much he may try to move heaven and earth for the woman he loves, she can only see him as a liar, a thief, a backstabber. Due to how softly Jay’s vocals float by in the chorus, it took me a while to realize that I was so transfixed by the soothing melody that I missed the words: “Now whose skin am I in/And who’s in my skin?” I love the song even more now that I understand the sort of identity crisis it’s trying to describe. But the main thing I love it for is how delicately interwoven all the instruments are – the keyboard, the bells, the gentle guitar soloing, the synth bass and the soft drums. Nothing in this song is particularly loud or climactic, but it’s nice to have a rest from that while realizing there’s still quite a lot going on instrumentally.
This behemoth seven minute track may be the most emotionally heavy thing that Owel has done. It’s not as instrumentally or vocally intense as the end of “I Am Not Yours”, but the way it keeps rumbling forward like a freight train on an inevitable collision course with doom makes me think of a darker, more guitar-based “Snowglobe”. (Particularly during the brooding bass drop in the bridge.) A woman desperately seeking escape from a life she no longer seems to feel any passion for is at the center of this song, and the lyrics don’t pull any punches about the options in front of her: “She lays out on the table/A pair of shears, a ball of twine/Her mother’s meds she could pair with/Her father’s favorite wine.” Though later in the song, it seems like options other than suicide are being explored, such as buying a plane ticket and getting away from it all, the song refuses to give her any easy solutions or even tell us the outcome. The point of it is to get into her headspace as she mulls over the question, “Now which of these will work the most and hurt the least?” What’s most terrifying is that she doesn’t seem to feel afraid… she’s just numb. Though there’s a lot of darkness to this song, Owel maintains an eerily beautiful tone throughout – the climactic final minutes of this song feel more like a release, a chance to finally let in the emotion that’s been locked outside for so long. But the creepiest part of it may be when it ends, and there’s a ghostly female voice whispering in the shadows, “Wake up”, and then suddenly it stops, someone takes a breath, and the band continues on to the next song as if they’ve just been jolted out of a nightmare.
9. Not Today
I described the keyboards in “Steal the Moon” as “wintry”. Here I’d describe them as “icy”. This song feels like it’s sleepwalking, and I’m probably thinking that because of the weird “Wake up” transition, but the lyrics are fitting as well, because they talk about wanting to hit the snooze alarm and stay in bed, and basically just take a mulligan on whatever you had originally planned today. This is either what going through a depressive state is like, or else it’s just about being an extreme procrastinator. Either way, at different times in my life I’ve been able to relate. Despite the slower, more rigid pace of the song, I really enjoy the electronic punch and snap of the drums and the way Jay’s vocal in the second verse momentarily gets chewed up by some sort of creepy pitch-shifting effect, as if there’s something far more sinister lurking underneath the sleepy haze. I love how there are so many intriguing little details to gradually notice over time in even the mellower “comedown” tracks on this records.
This album’s been incredibly dark and moody for the last several tracks, so the bright piano melody that opens this song, and the confident march of its rhythm when it gets going, are an excellent change of pace at this point. I love that it starts off gracefully, keeping the piano and strings prominent for a verse or so, before bring the whole band in and then going into full-on cheerful mode. Remember what I said earlier about up-tempo tracks being shorter as a rule? This is the exception. It’s six and a half minute of what feels like a jolly springtime parade, and I can’t get enough of it. What’s most intriguing about it is how, in the midst of Jay’s hopeless romantic fantasies – “Cue the orchestra to swell when our mouths meet/Rising louder now until we’re under sheets” – he still seems to admit it’s all just a “hopelessly deranged” pipe dream that he’s too far gone to ever make come true. He’s at least found a happy place to visit in his mind’s eye. Sometimes that’s an important part of working through a period of depression and loneliness, even though in and of itself, it’s not the answer. When this thing really picks up steam, I’m reminded of the song “Progress”, which was two tracks before the end on their debut, and had a similar “joyous march” sort of quality to it. And I loved that track, but man, this one blows it out of the water.
11. Ocean Legs
I said there were no dud tracks on this record, and I’m going to stick by that statement, but first I have a surprise for you. Actually, I have no surprises for you. Specifically, the Radiohead song “No Surprises”, which the glockenspiel melody in the opening of this song mimics a little too closely for comfort. I’m not going to say that the entire song is a ripoff – I’ve made Radiohead comparisons before when listening to this band and it’s never bothered me. But it’s also never been this obvious. The song certainly goes for more of a rock climax than the OK Computer track it’s based on, with moody guitars blaring and the strings once again working themselves into a frenzy. But it feels more like a typical wall of power chords here, making the song slightly tedious in comparison to the more elegant climaxes heard in a lot of Owel’s other songs. Still, I’ve got to give this one credit. It gives meaning to the album title, Dear Me, as Jay tries to personify the different virtues he either has in some amount or feels that he totally lacks: “Sweet hope, you’ve been sweet to me/Although I’ve always secretly/Wanted to meet your cousin faith/Patience, you’ve been patient/What would it take for you to show?/But I don’t want you anymore.” It’s a good “taking stock of yourself” kind of song that ends the cycle of heartbreak and depression on a semi-hopeful note, as if to say he’s finally got his bearings and feels brave enough to weather the rest of the storm.
12. Albert and the Hurricane
I love how this one opens on an appropriately “watery” guitar melody, which was naggingly familiar to me when it first came wafting in. It took me a few listens to realize that I was thinking of the opening moments of Jeff Buckley‘s classic “Mojo Pin”. That’s never a bad influence to have. That circular guitar melody becomes the basis for what I thought was an instrumental track, until I looked online and realized this thing actually had lyrics, which I can no hear being sung very faintly in the background. I’m not sure how I feel about that. It’s thematically appropriate, I suppose, that the meaning of this song would get buried in the storm of meandering guitar melodies and thick drum fills. (Side note: The way that the drums initially establish a pattern of shifting from the downbeat to the upbeat, and then back again, reminds me very much of their first album’s closing track, “Reborn”. Is it weird that I keep finding vague references to their first album in tracks that are pretty much at the same spot in the tracklisting?) Still, I feel pretty strongly that if you have a lyric worth including in your song, it should be audible enough for the audience to understand what you’re singing, so I always have problems with the deliberate obscuring of lyrics in the mix. Still, if I take this one purely as an instrumental, it’s a captivating way to close the album, and as it hits a final crescendo and collapses into a wave of feedback, I love how perfectly the final three-note bell motif fits in at the end, just as it did in the opening seconds of “Slow”. Maybe the whole story is a cyclical one? That’s a scary thought.
WHAT’S IT WORTH TO ME?
Pale Soft Light $1.25
Too Young to Fall in Love $2
Be Quiet $1
Paper Hands $1
I Am Not Yours $1.75
Steal the Moon $1.50
Not Today $1
Ocean Legs $.75
Albert and the Hurricane $1.25
Jay Sakong: Lead Vocals, guitar, Keyboards
Jane Park: Violin, viola, keyboards, backing vocals
Seamus O’Connor: Guitar, keyboards, backing vocals
Nunzio Moudatsos: Bass, backing vocals
Ryan Vargas: Percussion, backing vocals
LISTEN FOR YOURSELF:
In January of 2013 I ordered a CD by the band Owel based on a couple of songs I had heard on the internet. Upon receiving the album, I listened to it 3 or 4 times in a row. Needless to say, I really enjoyed and connected with their tunes. Later on in the year I ordered the album on vinyl and received one of the coolest looking records in my collection (props to intheclouds Records, check the link at the bottom of the page).
I find it difficult to describe Owel’s music other than using the word “beautiful”. Somewhere between the late 90’s emo sound of American Football and Clarity-era Jimmy Eat World and the experimental sounds of Sigur Rós and Radiohead, this five-piece band from the New York/New Jersey area has found a wonderfully-unique sound.
Owel were kind enough to take a time out during the holidays and answer some questions for me about their band and their own personal music tastes and collections:
Who is answering these questions and what instrument(s) do you play in Owel?
Jay Sakong: singer and guitarist. Jane Park: violin, keyboard, vocals Seamus: guitar, keyboard, vocals Ryan: drums
Is it blowing your mind to see your band mentioned on these huge tastemaker sites like Pitchfork and Stereogum?
Jane: I used to check Stereogum every day in college, and it was one of my main sources for exploring new bands, so having Owel mentioned there was pretty surreal. Likewise, being mentioned on Pitchfork was really big for us. Moreover, it led to many new listeners, which is always exciting.
Do you have any thoughts on the so-called “emo-revival” that Owel has been linked with lately?
Jay: That phrase “emo” has taken on so many different meanings throughout the years that at first I really didn’t know what to think. I think of bands that I loved (and still do love) and bands that I despised. I always thought “emo” was just a term for music that evoked emotion, but then again what good song doesn’t evoke some emotion? Regardless of what it means to anyone else, I’m just grateful that ears are turning towards us.
What artists do you consider to be Owel’s biggest influences?
Seamus: The beauty of making music with these guys is we all come from different backgrounds allowing us to share ideas and basically learn a lot from each others’ tastes. With me personally, my earliest influence was Brian Wilson’s work with the Beach Boys. The mix of amazing songwriting and ridiculous harmonies got me interested in music right from the age of 8. Since then, anyone from Jesse Lacey from Brand New to Dallas Green, there really are too many to name.
What is your favorite album of all-time? (If you can’t just name one, I’d also love to hear a shortlist of albums that would be candidates.)
Jane: a few of my favorite albums ever would include Andrew Bird – The Mysterious Production of Eggs, Belle & Sebastian – Dear Catastrophe Waitress, Beach House – Teen Dream What are some of your very favorite songs of all-time? Jane: Etta James’ version of Don’t Get Around Much Anymore, Radiohead – High And Dry, The White Stripes – We’re Going To Be Friends Seamus: Radiohead-Fake Plastic Trees, Death Cab for Cutie- TinyVessels, Coldplay-Fix you, The Wonder Years-I Just Want To Sellout My Funeral, Our Last Night-Dreamcatcher, Elvis-Only Fools Rush in, Brand New-At the Bottom, As Tall as Lions-Duermete, Sigur Ros-Hoppipolla, Dallas Green-What Makes a Man
What format do you buy music on the most (CD’s, vinyl, Digital, Cassette)?
Jane: I’m a product of the times. In middle school, cassettes. In high school, CD’s. In college, mp3’s. Now, digital and vinyl.
How many albums would you estimate are in your collection?
Ryan: A lot. I have so many albums spread out in cassettes,vinyls , cd’s etc…Even when i was young i appreciated different styles of music to expand my drumming knowledge. I feel as a musician you need to have a collection of music to keep yourself inspired and eager to learn new ideas.
Are there any plans for Owel in 2014 as far as touring or new music goes?
Jay: We are always playing out. It’s a huge part of what makes this so fun. The other part is being in the studio, and to be honest, I can’t wait to record our next record. Jane: As much as we love playing in NY and NJ, we’re excited to be venturing to different states for shows more and more. We’re looking forward to more out-of-state tours in 2014.
Thank you so much to Owel for allowing me to interview them.
Here’s an interview I did with Tim Lambesis in 2008. I was looking back at this the other day and found it interesting considering how the last few years have been for him. Lambesis was released from jail in December of 2016.
1. You have your hand in everything from being the vocalist of one of metal/hardcore’s biggest bands, producing the new War of Ages album, managing Destroy The Runner, and doing your side project, Austrian Death Machine, do you have any other talents you haven’t shared with us yet?
There are definitely days that are crazier than others where I wonder what I’m doing, but for the most part I’ve learned to balance things pretty well. I’m a pretty calm guy most of the time, so my attitude is to just do the best I can and that’s all I can really do. With the release of Austrian Death Machine coming up I am no longer managing Destroy the Runner. They’ve actually done their past tour on their own and have decided that they won’t be touring as full time after the summer, so it just seemed to make sense to split. We all still live in the same neighborhood and hang out recording stupid fun stuff in my studio though. I’d say that the recording side of my life is maybe one of the talents I haven’t shared fully and will hopefully be doing more records when I get time off between tours.
2. Please tell me about Austrian Death Machine, How did this project come about, how will it sound, and what is it about Arnold Schwarzenegger that inspired you to do this project in his honor?
Well, I finally got a full song up online for people to hear after teasing them with the preview for a while. The sound is much more trash oriented than As I Lay Dying and is an awesome outlet for the goofier side of me. The lyrics are 100% based on Arnold Schwarzenegger one liners in his movies, so part of the fun is that everyone already know the lyrics to the big sing alongs. The idea came up when talking with friends and impersonating those great one-liners. Then I started thinking how amazingly fun it would be to have a bands where that was every chorus.
3. Will you be playing any shows as Austrian Death Machine or is this an album only project?
At first it was supposed to be an album only project, but then friends of mine kept telling me they would join the band if we played some shows. There won’t be any crazy touring plans, but I want to put together enough shows to do the “Preda-TOUR.”
4. Did you play all of the instruments on the Austrian Death Machine album?
Yeah, I played all of the original studio version of everything except for the guitar solos, but then as time went on I had friends come in to help me get things a little tighter and sounding the way I want. I’m a perfectionist and the truth is that I haven’t been playing guitar enough regularly to play as tight as I wanted to on a lot of the fast parts.
5. With As I Lay Dying having a new album out and touring plus your other projects, where did you find the time to record the Austrian Death Machine album?
Every time I was home between tour I would record a little more. The whole recording process was about a month when you put it all together, but it was spread out over about three months.
6. When As I Lay Dying began did you have any idea that it would become such an important band in the metal and hardcore scene?
Definitely not, but I also didn’t think that metal would become an important genre again either. I just wanted to help write the best music I could for the genre which I thought was very underground at the time. In the big scheme of things metal is still very underground when you compare it to radio junk or hip hop, but it’s still crazy to think that some bands in our genre have gold records even though they scream and stuff.
7. What musical artists would you say have unfluenced you the most, personally?
I love the energy from punk and hardcore being so fast paced all of the time, but I like to combine that energy with stuff influences that are rhythmically intense like Living Sacrifice was. I’m really stoked they’re back together. The melody side of our music can be influenced a little by At the Gates to name one.
8. What will the schedule be like for As I Lay Dying this summer and for the rest of 2008?
We’re finishing up Van’s Warped Tour and then going to Europe for a bunch of festivals over there. Hopefully we can start writing a little after that, but that doesn’t mean our touring plans will stop. They’ll just slow down a little.
9. How do you feel about the current “christian” hardcore and metal scene? Is there anything about it that you think needs to change?
Just because a bunch of dudes grow up in a Christian home doesn’t mean that need to call themselves a Christian band or Christians in a band, or whatever the trend is. Either Jesus matters enough to all five members that He influences all of their lives (including music), or that band should just admit their faith is cultural and doesn’t affect their lives. I guess what I really wish I could change has to do with all of what we call Christianity in modern times. There are so many people that call themselves Christians that it really means nothing. It should be hard to make the Christian claim because it means that you actually believe what Jesus said and want to be held accountable to it. That’s pretty gnarly to think about because Jesus said more about people giving up their riches than He said about being born again. It’s comfortable to say we’re born again because that idea is so vague in our society, but how many of us can really say we’ve sold all we have to give to the poor or that we turn the other cheek to our enemies. Those ideas still challenge me as a US citizen where even the poorest of us are rich compared to most of the globe. I’ve done very little in my lifetime to bring justice to the poor and oppressed the Jesus loved so much, and I feel challenged to start meaning what I say when I call myself a Christian. Of course I would never be ashamed to associate myself with Jesus, but I am ashamed to associate myself with the Christian majority in the US because it seems they care less for following Christ’s teachings than they do for following the so-called culturally Christian empires of our time.
10. Would you call As I Lay Dying a “christian band” or would you say you are “christians in a band”?
We are a Christian band because my beliefs influence everything that I do.
11. What has God been teaching you lately?
“Whatever you’ve done unto the least of these, you’ve done unto Me.”
12. Is there anything you would like to say that we haven’t covered?
I tend to come across very serious when you get me on the right subject, but I also want people to see the other side of me just trashing around and having fun. Hopefully Austrian Death Machine will help get that across while it also gives me a chance to play a lot of the instruments I had to give up when I started singing in As I Lay Dying.