Interview Linzi Stoppard of FUSE
HHM: You have been playing the violin since a very young age, what spawned your desire to switch from classical to electric?
Linzi: There were many reasons I wanted to switch to the electric violin, firstly I didn’t want to be another classical cross-over cliche, there are too many of those as it is, it has become a watered down genre, I wanted to stand out from the crowd. The electric violin looks very futuristic, especially FUSE’s violins, adding a wow-factor to a stage performance, also for the ease of amplification and the ability to add effects with floor pedals and cab amps, analogue guitar backline etc. The electric violin gave me more freedom as a performer to experiment with so many more musical styles and sounds too, in the same way an electric guitar player can use effects…
HHM: Was there any sort of learning curve or having to adjust the way you played?
Linzi:. In terms of technique they are essentially the same, the electric violin is slightly heavier and of course the electric is able to be amplified. I think the main difference is in your mind. You are able to express yourself in a way that isn’t as becoming when tried on an acoustic as it is when you’re playing an instrument that can sound like the pan-pipes one minute and then Jimmy Hendrix at the flick of a switch. This broadens your horizons and encourages you to take risks, experiment and push the boundaries.
HHM: How long had you been playing solo when yourself and Ben Lee had gotten together?
Linzi: I’d been playing solo for a few years, also playing the electric violin in a couple of different bands…I was always looking to push the envelope with new sounds, production and genres. For my solo shows I started playing dance and club tracks but rock was always on my radar. That is when we started to look for an executive producer.
HHM: I found it interesting that originally you weren’t looking to add a second violin when you met Ben Lee, how did that all come about?
Linzi: I was looking for an executive producer for my live performances when I was a solo violinist. Through my management we eventually found Ben Lee, a violinist from the Royal College. Ben shared an interest in pushing the boundaries and exploring how the violin sound can be manipulated. So we started working together on my solo shows, this relationship continued for a few months. At the time most violin acts were all-girl quartets so there was a gap in the market for a girl-boy duo. It was a unique combination, add to that Ben’s and my vision to push the boundaries sonically and you have the ingredients for a new act – In early 2008 Ben and I officially joined forces and FUSE was born.
HHM: How much of a dynamic change was if for you with having 2 violins on stage now?
Linzi: There was a dynamic change in a positive way, as I’ve always believed that two is stronger than one, Ben and I also channel a different vibe on stage which actually compliments each other bringing together a stronger performance than myself as a solo artist.
But it wasn’t just about being 2 violins instead of one. If I had looked for another female violinist I don’t think it would have worked out the same – I really wanted to team up with a guy to form the first girl/boy duo. That is much more powerful, there something for everyone (as one fan said!) and it is even more dynamic.
HHM: Does that same shared passion and drive spill over into the writing/composing process as well?
Linzi: Absolutely. It was an important decision when FUSE first started. We always have ideas for new tracks, most rehearsals spring up something when we are just jamming but it was our management that decided the album should be our interpretations of rock anthems. You see when most people see a violin they have a preconception about what it is, how it looks, what it will sound like and most importantly the genre you will play. Needless to say most think CLASSICAL! This is the stereotype we wanted to smash. So if the first time an audience hear the band you are playing original material you are risk loosing them while they work out if they like the melody, the sounds, the style etc. On the other hand if you give them something they love, sing along to in the car when it comes on the radio then you have already jumped the first hurdle and are in with a chance. Familiarity is so critical when trying to get an audience to empathize with you. If it is already in the subconsciousness half the battle is won.
Having said that we write, arrange and produce original material for Paris and London fashion weeks, we have been commissioned to write the score for a new movie and fingers crossed a new TV series as well. We are fortune to have the best of both worlds.
HHM: Was it tough for you to give up some of that spotlight or more you allowing yourselves to feed off of each other’s playing?
Linzi: I loved performing solo, yes I had the stage to myself and the freedom. But there is a flip side, it can get lonely, even up on stage, but I learned to focus that nervous energy and turn it into something positive. But as a duo I found I had to be a bit more disciplined at first. You always have to be aware of your band mate, what each others roles are and stick to them. Once you have that down you can start to be a bit more expansive and take a few more risks. And of course there is the competitiveness that I didn’t have when solo. Both Ben and I are competitive but in a positive way. We spur each on and it helps keep us honest.
HHM: I have watched the “Glorious” video several times. It is quite moving. You seem to get lost in your playing. Do you sometimes forget that there’s more than just You and Ben Lee up there on stage?
Linzi: Music is emotional. If it wasn’t it would be such a big part of all our lives. Whether it provokes a sad memory of a break up, or an electric rush when we first met someone. And music can inspire us when we hear something that moves the soul. The key is the same piece of music means something different to each of us. And I find that is no different when performing our music. It is such an anthemic track, that one track was probably more responsible for FUSE’s signature, sound and style than any other.
HHM: Have you ever received any criticism from “traditional” violinists for your progressive approach to the instrument?
Linzi: Yes, some purists don’t like the mixing classics with pop/rock especially on the violin! What they don’t realize is that we are bridging the gap between classical and the mainstream. We are introducing a new audience to what is generally interpreted as a classical instrument. The violin deserves to be heard by as many people as possible but if we leave it to just the great composers of yesteryear we run the risk of this incredible instrument being left behind in a fast moving and new world. Don’t get me wrong, the classical is very important and always will be, FUSE just believe there is more to it than that.
As with most things in life that get a reaction it is usually ‘cos one is not conforming with the norm. That makes some people feel nervous. Conversely we feel that is a good thing. Negativity is born from a misunderstanding, feeling threatened, an insecurity. Sure FUSE’s music may create cracks in the violin fraternity, but that lets the sun shine through.
HHM: Do you find that it makes it a little tougher to get your message across without vocals?
Linzi: We do actually have some vocals on the album, it was a big decision to have vocals. It wasn’t so much because there were space which the violins couldn’t fill, more because we were recording rock anthem and anyone who was anyone would sing along when they heard it. Particularly the big famous choruses. So we thought why not accompany them, or give them something to sing along with, they clearly like it. The end result worked out well, it adds something. As you can hear they are not lead vocals, more backing to add something to the ‘soup’.
HHM: You seem to have a very music industry mindset, you are much more than novice when it comes to the ins and outs of the music business. Where do you find the strength to be so passionate about both sides of the music?
Linzi: This is a necessity for a modern day artist. The industry has changed so much. Once upon a time an artist would be signed from a good demo. Not now. The labels want to see the complete package before they commit. When you are starting out and you can’t afford agents & PRs. A new artist has to understand how to connect to the new online audience and with that comes a necessity to understand how everything works otherwise you’ll get burnt. At least that’s how I came to knowing both sides.
HHM: If you had to pick just a couple, what do you feel are some of your proudest moments as musicians up to this point in your careers?
Linzi: Performing at Glastonbury Festival is definitely up there, also performing at the Royal Albert Hall. When we started out it was normally an orchestra and classical music that was heard from a violin in the great hall. The thought that electric violins playing rock would have the stage at this iconic venue didn’t seem possible when we started out. But it did. There is a definite air of expectation backstage – partly due to all the photos of legendary artists filling the corridors who have performed on this stage.
HHM: What does 2013 have in store for FUSE? What are some plans you guys have for this year?
Linzi: More FUSE Tours are being planned, also shows in Asia, America & The UK, also a film soundtrack is planned for the near future!
Interview by DaveHHM
For Information About FUSE and Linzi Stoppard:
Photo Credit: Jerry John
Interview with Frankie Palmeri, Lead Vocalist of Emmure
HHM: Hello, I’m Harley with Hellhound Music, how’re you today?
Frankie: I’m good.
HHM: Can you tell the listeners your name and what your role is in the band Emmure?
Frankie: My name is Frankie Palmeri and I sing for Emmure.
HHM: So you guys are going to be on the upcoming Rockstar Energy Drink Mayhem Festival starting here in a little less than 2 weeks, who are you looking forward to the most being on this tour?
Frankie: Nobody, maybe Rob Zombie.
HHM: Do you prefer playing festival shows opposed to normal club shows? The Mayhem tour definately brings in some pretty insane crowds, size wise.
Frankie: I think festivals are cool because you get to play to so many people, and you can possibly reach new fans. I don’t really mind though, I have fun regardless, so as long as I am having fun and the crowd is interacting it’s cool. I don’t really have a preference.
HHM: For people coming out to Mayhem who have never been to an Emmure show what would you say to get them to stop by the stage and catch your set?
Frankie: If you don’t want to miss the best band playing, make sure you come watch our set.
HHM: You started Emmure when you were sixteen and now recently turning twenty-seven your views on some things have changed. How do you feel lyrically you’ve changed over the course of these records?
Frankie: You are talking me going from boy to man. I started this band when I was just a kid, just turned twenty-seven last week, so my outlook on things has changed drastically. I have spent that last eleven years of my life on the road, playing music, putting out records. My whole perception of things is completely different then when I started this band. It is hard to really sum it all up what it really is. There have been many hurdles that I have faced personally, creatively, financially, just everything. I am still working hard, I think that is really the biggest lesson of it all. Hard work pays off, we have worked really hard to get this far, and we are going to continue to work harder, to get farther. We are going to do whatever we can to maintain our status as being one of those bands who you must see. Our fans are amazing, as long as they are there, we will still be there.
HHM: Your last album “Slave To The Game” was your highest charting record to date, do you feel like the new material you guys are going to put out will surpass the last record?
Frankie: I don’t really care about billboard numbers, I think the billboard is a really sad idea of what the music industry is all about right now. Not many people are buying records anyways. We are not a band that gets radio play, we don’t do Saturday Night Live, or any NBC late night shows. We don’t have a label that puts millions of dollars into promoting us. We are a band that tours full-time. If people buy our records it is because we are out there in their town promoting it. Do I think that our new material will surpass “Slave To The Game” creatively? Yes, I do. I think that our new material is some of the most angry, most moving stuff that we have ever written. That is what I am looking forward to the most about putting out a new record. I don’t really care about billboard numbers, I think that is a complete farce. Everyone downloads everything, people steal music constantly, and that is just how it is. If people dig it enough to buy our album that’s great. If they don’t buy it, or they download it and they fall in love with it, and come to a show and sing along to every word, that’s cool too. We don’t really care, that’s not really what we are about. As far as I am concerned we are a band that makes heavy, aggressive music, if we get on the billboard at all that’s awesome, but if we don’t I don’t care.
HHM: Speaking of new material, when can we expect a new album?
Frankie: We are writing right now, hopefully we can get in the studio after summer ends. We are writing currently and it’s coming out pretty good, but as far as a release date, I don’t know, sometime in 2014.
HHM: Can you tell me the craziest tour story you can remember?
Frankie: Every story I have from tour is crazy. I can tell you an old one that I think is pretty funny that we were reminiscing the other day. We used to tour in a van, that we put a tv in, like a regular small tv old school set up. We had a PlayStation2 hooked up and we would play this game where whoever was driving at the time would be playing Guitar Hero watching the tv in the center console of the van, not a console in the dash, just a tv in the van, they would watch the tv and play guitar hero and someone else would steer the van as we are driving down the highway. We did a lot of crazy, stupid shit when we were younger.
HHM: I saw an interview a while back that you did about the game Street Fighter, and I really enjoyed what you took away from the character “Ryu” in Street Fighter 2 where you said “that you will always strive and continue, it’s not about “getting the medals” it’s about constantly working, and constantly moving forward to be whatever is it you’re meant to be”. When you walk off into the sunset (as Ryu did) after this Mayhem tour ends, what is the “next challenge you are seeking”?
Frankie: I want to maintain longevity as a band I think is the number one thing. I want to be a band that outlasts. A band who can continue to go and create, still bring people to shows to have a good time. In the music business you are not promised anything at all. We have made it pretty far and have lasted pretty long. We have lasted longer than a lot of bands that we knew coming up in the game did. Bands that we have toured with, or played shows with have disappeared off of the face of the Earth, forever, but we are still here. We want to continue to be that band that is still here, still making really heavy albums for our fans to enjoy and for new fans to come to appreciate. Every four years there is going to be a new fifteen year old kid who goes, “I’m pissed off at society, at the world, at my parents, at people who have betrayed me.” We are a band that encompasses the coming of age story. Growing up inside music as I have, I think has been able to have our band become that for people. We talk a lot about adversity whether it be with romance, internal conflicts, problems with people you work with, or friends who have let you down, it’s universal. We are not a band that just talks about one certain thing. I read lyrics and stuff from other bands and I just don’t get it, I don’t even get what they are talking about. I don’t understand where it is coming from. People that don’t write from personal experience, or don’t write from the heart, or what they have been through, I just don’t understand what they are writing about, it just doesn’t make sense to me. We are a band that prides ourselves on being real. I write about things that have happened to me, other than “Slave To The Game” which is a poor example of that, other than maybe a few choice tracks. What we have accomplished in the past I think we will be able to rehash into the future and continue putting albums out.
HHM: Thank you for taking the time to do this little preview for us! Everyone go check out Emmure and many many more on the Rockstar Energy Drink Mayhem Festival tour coming to a town near you June 29th- August 4th!
Frankie: Very cool!
Interview by Harley HHM
Photo Credit: Jake Owens
For More Information:
Interview with Classically Influenced Rock Singer/Songwriter Charles Corby
HHM: You were exposed to music on a personal level at an early age, is it something that really took hold of you from the beginning?
Hi Dave, thanks for having me. Yeah for sure, music is something I began doing just for me, and even now still I find that writing helps me with a lot of internal processing and whatnot. The point that I came to that made me realize “oh hold on, I can do this for a living” was when I sort of started seeing how the music I was writing was affecting other people. Like I remember doing even just piano concerts for the piano school I went to, and it would just turn the room full of people silent, and I thought that was really neat. Whenever I’m talking to anyone else about my career and they go “so what do you do” I feel pretty stupid answering with “I’m a musician” because nobody seems to get that you don’t need to have a backup plan or whatever, I can always do all that stuff later. For now I’m just doing what I’m passionate about.
HHM: Having a pretty deep seeded background with Classical music, do you tend to look at mainstream music a little differently?
I think I tend to look at mainstream music a little differently anyway. For me, listening to any music is a very distinct visual process, because I tend to see the music I’m listening to. It’s not like a flash of bright colors but I can often guess what key a song is in because I’ll be thinking about it afterward and associate with a certain color palette and certain hypothetical volume density. That’s probably the best way to describe my listening to music, because, I mean, I can see the bumps and patterns when I’m listening to it, and learn from the shapes and then apply what I like to my own music.
HHM: I have noticed that many of your influences have some classical undertones in their music regularly; do you find that you sought out those types of artists or just what came natural to you?
Well it only happened through coincidence that the mainstream music I began listening to, Cold War Kids, Goo Goo Dolls, Plumb, Evanescence, all seemed to have substantial classical elements to them anyway. I think following that I started gravitating toward music that had a lot of orchestral elements in it. I used to be a huge film buff as well, and loved listening to all the scores of the films on their own, especially ones of composers like Danny Elfman and Hans Zimmer.
HHM: Do you feel like having that background that you approach writing on a more Music Theory sort of level?
I absolutely think theory is vital for song writing. I feel, in a way, that the more theory I know the more options I have to bring to the table. I still get theory lessons even now. I find that I can use stuff I’ve learned through the entire writing process; from writing the piano pieces, to the harmonies. You don’t need to know theory to write; a lot of musicians don’t, and still write incredibly well. I was interested in the theories in things like harmonies; that using a certain interval to create a harmony evokes a very specific reaction from the listener, and there are a million different combinations. Stuff like that fascinates me.
HHM: You’ve taken quite a bit of time to write and put together your first record…has that been from reworking songs or basically just taking a slow methodical approach to it?
For me, whether writing this record takes 5 minutes or 5 years, it doesn’t really matter that much to me. I think people will be able to see the time it’s taken through the diversity of the songs, or even the layering or whatever. It’s not like, spend 5 years, its good, spend 10 years, it’s great. I just needed to take the amount of time that I needed to write it. Fortunately I’m not in this business for money and that has awarded me the opportunity to do things like this. I won’t be pumping out the next Justin Beiber hit, but that’s cool, it’s not really what I’m here for anyway.
HHM: During your writing process, do you like to work a song from beginning to end?
The writing process changes depending on a lot of different things like where I’m writing, or what I’m writing about. I would love to be able to just write a song from start to end, but for me the song writing process is a lot slower and more complex. I like to give the songs the time they deserve. If I write an introduction one night, I might think “okay I’ve had enough, but I know this is going somewhere” so I’ll leave it for the next night. The trick for me is to just let it take its natural course. If I write the introduction and I feel like I should go into a chorus, or two choruses, or whatever, I let it do that, rather than restraining myself. I feel like if I adhere to a structure too heavily, I’ll write intro, verse, chorus, then just stop and get bored. Pete Hume from Evermore told me some good advice which is to just “push on through anyway”. Sometimes I can do that and it works, but more often than not I’ll have a general feel for the song worked out based on the intro, and it unfolds from there regardless of structuring.
HHM: When a listener puts on headphones, hits play on your album, what kind of a journey do you have in store for them?
It definitely takes them on a journey because it’s quite a diverse album. The interesting thing is that I’m aiming this record more at record company staff rather than any other demographic. Therefore the decisions that I make surrounding the production of it are very much influenced by that factor. The first song is very in-your-face and grabs your attention immediately. It’s not something I normally do; every other song has a slower introduction which I’m more proud of. The following 3 songs just push the boundaries of my abilities, and conventional structure. I mean, Nightmare Child has been reworked a thousand times, re-written over 5 times, and in its current form is simply piano and voice, on a 2 chord structure.
HHM: What would you say are some of the biggest sacrifices you have had to make to pursue your music career?
I’m a super passionate person. Every week I think of another business idea that I want to start, or think of some courses I’d love to do, or a dream retail job or whatever, and I just have to stop and think “okay you have limited time here” and just push on through to try and achieve this goal. There’s plenty of time to do all that stuff later anyway. I haven’t met an adult yet who understands this concept of being a musician as a job, or that I’m not taking a “gap year”. It’s a daring move, but I love what I do, and conventions aren’t going to tell me otherwise.
HHM: Have you found a studio to record in as of yet to begin tracking your album?
Actually in a few weeks I’m going into a local studio to record the proper dummy copy of the album, which I can use to send out to a few musicians I like and a couple of producers I’m thinking of working with. I need a producer to help me finish the record because I have simply taken it as far as I can now on my own. I know the feel and tone that I need, and finding a producer, it seems, is just finding someone who can match or better my vision of it. I hope to record and launch by the end of the year, but, if taking that little bit longer helps with the quality of the record, then yeah for sure I’ll take that option.
HHM: You’ve listened to your songs over and over on demos, are you a little nervous to hear yourself for the first time on that level of production?
Apart from the fact that I am not a natural born singer and have to work really hard at my vocals, I’m more excited than nervous about recording. Not many people have seen these songs yet, and I’m excited to be able to send some stuff out to some fans and some friends and just start listening to what they have to say about them. This is only a dummy recording, but I’m doing this one properly anyway. I spoke to the producer I’ll be working with and I was like “I want this microphone, this keyboard, this studio”, just because I know exactly what I want here. It will be a lot of fun though.
HHM: When are you hoping to be able to release your debut album?
I really need to get it out this year, but mainly for me. Primarily this record has been about finding my ground, building up a network, and of course it’s a lot harder the first time around. I’m very much interested in marketing and promotion and the aim with all of this was to sort of hit the ground running, so that there are people there that know my name and are prepared to listen to the record. I’ve already started writing the album that will follow this, but like I said, if that one takes another couple of years to do, I’m not going to be the one pushing myself to complete something I wouldn’t be satisfied with.
HHM: What are some of your future plans aside from our album release? Shows,
touring, video, etc.
I want to tour at the end of the year probably up the East Coast a little. There’s a couple of other local musicians I’m going to try and convince to join with, otherwise I’ll get in contact with some labels and see if there are any bigger bands in the same genre that need supporting acts. The videos and promo material are in full swing already; I’m getting treatments for the videos so people can have a visual to go with music, which I think is really important. Basically I’ll be putting in whatever work is required to make sure I’m satisfied with this album.
Interview by DaveHHM
You can check out more about Charles at his website
HHM: Can you tell me a little bit of history about War Games? How ya’ll started, where the band name originated from, etc.
Ian: We all started playing in bands at a really young age. For some of us it was hearing bands like Blink182 and GreenDay on the radio and thinking “I wanna do that!”. For others it was growing up in a musical household and eventually picking it up on our own. Then again for some of us, music was a fluke. There hasn’t be a common, defining characteristic that we’ve found in the band, but differences are what make things great and interesting!
Cameron: I met the guys slightly by chance. I had just got off of a tour filling in on drums for With The Punches on Just Surrenders headliner tour. I was determined to find a full time band to play in after 3 weeks of being on the road with those guys. I had given up music for good at one point between schooling, work, and a serious relationship and spontaneously brushing the dust off of my road cases, packing up and heading out on the road breathed life back into me. A friend I met in college had randomly invited me to a show that his friend was playing knowing that I was into music and it would be a cool place to catch up, being at a bar and all. Wargames was headlining the show (then playing under the name Another Option) and I remember telling them to call me if they ever needed a drummer. Two months later and my phone rang– it was singer, Kyle Therrien. I’ll never forget that show though. Before I left I had to take turns and give a few of the Wargames friends/fans I had never met before hanging out in the parking lot a hell ride in a 400 horsepower Volkswagen GTI
Kyle: Our guitar player Ian Provost came up with the name War Games after we had spent hours in a room with a chalk board writing down potential band names. I like the name ‘War Games” because to me it involves two words that are associated with two completely different things. “War” can be A reminder amongst all the life changing technologies and progression throughout human history of how primitive a species we still are. Also “War” can be an everyday battle or struggle in life, or in a relationship. “Games” something fun, something to help distract the mind from everyday qualms and responsibilities. “Games” can also pertain to someone or something toying with your heart or something thats more important to you than obviously “them”. The are some of the things that come to mind when I think of our band name. To me it means trials and tribulations, Up’s and downs life throws you.
HHM: For someone who has never heard of War Games, how would you explain your sound?
Kyle: Our music is indie rock… we get compared to a mix of bands like “Mumford and Sons, Balance and Composure, Moving Mountains, The Early November, and As Cities Burn” We have a lot of energetic songs, but also a lot of soothing slower songs. Check it out you won’t be disappointed especially if you’re into those bands!
HHM: How would you say your song writing process usually unfolds?
Ryan: Usually one of us (mostly Ian) will bring a riff or idea to practice, and we’ll jam that part until we have a solid idea, and then take it part by part until we have a full song. Making sure everything doesn’t over power or take from the vocals is a big thing with us too.
HHM: You guys went into the studio at the beginning of this month to work on a song correct? How has that been going?
Andy: We did go into the studio at the beginning of the month, with Ace Enders of The Early November. He actually recorded our last EP Mountains, so we were very comfortable going to see him and it was a great experience once again. The process went real well and we are all stoked on how the new song came to life.
HHM: Do you go into the studio with fully written songs, or do you write a lot during the sessions?
Andy: No song we go into the studio with is ever really fully written. We like to be open to ideas and ways to improve our music, we are constantly doing pre production and recording the same song three or four times before we do a final song that we are totally happen with. Working with Ace also helps that because his input really pulls the feeling out of the song.
HHM: What do you think will be the biggest difference between the new record (when it’s done), and “Mountains”?
Ryan: Well since Mountains there has been a few member changes, so that definitely changes up the flow a bit. The new stuff we’ve been writing is a lot more aggressive…but in a good way, not like beat your dog aggressive…but it has an edge to it. There are a lot of different timings now and the songs are a little bit more technical. It’s still got that same War Games flow to it, just with some hot sauce added in lol.
HHM: What bands would you say have been your guy’s biggest influences?
Ryan: As Cities Burn, Transit, Saves The Day, The Dear Hunter, basically anything that’s got heart and groove…….plus a ton of awful hip hop!
HHM: I ask everyone this because some of the responses are interesting; if you had the opportunity to pick the bill for a festival, with you also on that bill, who would you want to play with you guys? Any band, past or present.
Ryan: For me, I’d have, Wu-Tang Clan, Mos Def, Gangstarr, Nas, As Cities Burn, RX bandits and the Temptations, that’s a festival I’d go to.
Kyle: John Lennon
HHM: Any upcoming tours or shows in the works?
Andy: We actually have a show in Mass on June 7th with our good friends in The Venetia Fair in Wareham at the 3065 live, we wont be touring much cause we are really focused on getting a new record written and out there for everyone to hear, and Kyle and myself will be spending a few weeks on the Vans Warped Tour, Promoting our new single and working for our clothing sponsor Self Made Co. So stop by the tent say hello.
HHM: Anything else you would like to share with the readers?
Andy: I would also like to add that we are starting a country wide street team with sectors in each state and are looking for fans who would like to help pass out fliers, stickers, and spread the word to all their friends. If you would like to help out just hit us up on twitter or Facebook and we’d be happy for you to join Team War Games
Interview by: Harley HHM
War Games Biography Video: Check It Out!
War Games is:
Kyle Therrien- Vocals
Andy Calheta- Bass and Vocals
Ian Provost- Guitar
Cameron Raubeson- Drums
Ryan Flinn- Guitar
For More Information:
Harley interviews Pop/Rock band Patterns from Pennsylvania
HHM: How did Patterns begin?
Justin: Patterns originally began a few years ago with Eddie, Cody and myself.
We all shared the same love for music and decided to make our own. We found two other people to make a full band and went on for about a year like that. Being young and not knowing too much it didn’t get very far but it was a great learning experience. After hiding under a rock we came back with Eddie, Cody, Squid, our old singer and myself. Recorded a 5 song demo and spent some time pushing that. Our singer ended up leaving the band putting us back under a rock for awhile but now once again we are back with our new singer Geo ready to keep pushing!
HHM: What bands influenced your Pop Rock sound?
Justin: This is always such a hard question for us! We all have similar but different taste in music and all of our ideas based on individual influences mashed together is what inspires our songs. Naming specific bands is just way too hard!
HHM: Who are some bands that you guys look up to?
Justin: We pretty much look up to any band that is passionate about their music and what they do and are out there making a name for themselves and putting in the work.
HHM: Ya’ll just released two new singles titled “The Boys” and “It’s Never Easy”, how do you feel these songs differ from the 2011 EP you guys put out?
Justin: I feel that they are more mature and structured than the songs on the ‘Self-Titled’. We’re all older and more mature in our musicianship and constantly trying to progress our music and I feel that showed through.
HHM: What is the writing process like? Is it a collaborative effort of all of you or is someone the sole lyricist?
Justin: Lyrics mostly come from our vocalist Geo and myself, but not all of them. Everyone writes stuff, we have a vault of stuff from everyone in the band hah.
HHM: For someone who has never listened to Patterns before, how would you personally describe your sound and stage show to intrigue them to check you guys out?
Justin: We have an upbeat/punchy/poppy sound and we try and really express the energy from our songs into our live set.
HHM: Every band I interview I ask them, if they were given the opportunity to put together their own festival, with them also on the bill who would they choose to share the stage with, who would that be for you guys?
Justin: Oh thats easy.. NickleBack, Lil Wayne, HateBreed, and Drake.
HHM: What would you say has been the biggest obstacle for the band? If any.
Justin: Just the constant push to get to the next level. I feel most people don’t realize just how much work, time, and money it takes be in a climbing band. It is no where near easy but every bit is worth it to us.
HHM: I saw that you guys recently worked with Alclair Audio and are working with Dead End Threads, who are some other companies that have worked with that really supported you guys?
Justin: Yes we worked with both of them and love them! Two other companies that we work with that have been a big help are SJC Drums and Self Made Clothing. Big shout out to all of these companies, some great people.
HHM: Are you currently working on any new material?
Justin: We’ve been spending a lot of time writing new material for a new album. I’m not 100% sure when we will be getting into the studio though.
HHM: Where would you like to see the band go from here?
Justin: I’d love to see the band continue to climb and have more and more people hear our music. We’d all also like to be on the road constantly.
HHM: Any tours or upcoming shows in the works?
Justin: We have some shows with Aaron Carter coming up haha, and are in the process of booking as much as possible. We will be announcing more shows soon!
Interview by: Harley HHM
Geo – Vocals
Squid – Guitar
Eddie – Guitar
Justin – Bass
Cody – Drums
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