Tumgik
pleasantmag · 18 days
Text
Weezer Announces "Voyage to the Blue Planet" Tour
Tumblr media
Weezer announces "Voyage to the Big Blue Planet" tour where they will be playing the Blue Album in its entirety. Supporting them on this epic tour will be The Flaming Lips and Dinosaur Jr. The tour will be starting in St. Paul, MN at the Xcel Energy Center on September 4th and Ending on October 11th at Intuit Dome in LA.
Tickets on sale 3/15 at 10 am local time
0 notes
pleasantmag · 8 months
Text
ALBUM REVIEW - MILITARIE GUN "LIFE UNDER THE GUN"
Tumblr media
Militarie Gun- Life Under the Gun For those of you unfamiliar with Militarie Gun, you must be living under a rock, or the gun. For the past year or so they’ve been blowing up. They’ve gone from Ian Shelton’s, drummer and vocalist of Seattle’s Regional Justice Center, solo project to a full fledged band featuring Nick Cogan from Drug Church, and Vince Nguyen from Modern Color on guitar and drums respectively.
They started to gain popularity with the heavy punk and slightly abrasive sound of “All Roads Lead to the Gun” which was a two part EP that was released in 2021, which was a shift from Ian’s first release of “My Life is Over” which was just a straight up punk record. The ever-shifting nature of this band is what draws you in. On June 23, 2023, “Life Under the Gun” was released under the label, Loma Vista. This truly was such a solid output by these guys. The first single and opening track “Do it Faster” was such a great toe in the water for the record.
Songs like “Do it Faster”, “Very High”, and “My Friends are All Having a Hard Time” are so reminiscent of the Pixies best work, while other songs like “Seizure of Assets”, “Will Logic”, and “Never Fucked Up Once” have a sort of 90s indie pop sound that you can’t help but bop along to while your listening. This record was yet again another shift from “All Roads Lead to the Gun '', much less abrasive but with Ian’s signature “OOHH OOHH '' scattered throughout the record, to add that familiar Militarie Gun sound. It’s always good to see a band evolve and make a sound that is completely their own.
At just over the halfway point of the year, this record is a very strong contender to be the record of the year for this Pleasant writer. I wouldn’t keep sleeping on them, or this record, you’re truly missing out. I honestly can’t stop listening to it.
Favorite track: Seizure of Assets.
Review written by RZA
1 note · View note
pleasantmag · 2 years
Text
Riot Fest Finally Announces 2022 Lineup
Tumblr media
We have been patiently waiting for this 2022 Riot Fest lineup. It will be on September 16-18 in Chicago, Illinois with headline acts including My Chemical Romance,  The Misfits, and Nine Inch Nails. Other acts performing include Sunny Day Real Estate (!!!!), Bad Religion, Sleater-Kinney, Jimmy Eat World, The Academy Is, as well as bands like Save Face, Mom Jeans, Real Friends, Bully, The Menzingers, Alexisonfire, The Front Bottoms, Mannequin Pussy, Hot Mulligan, Jeff Rosenstock, The Wonder Years, and more! What an incredible lineup this year. 
Visit riotfest.org for more info & tickets.
28 notes · View notes
pleasantmag · 2 years
Text
Weatherday, Michael Cera Palin, and Oolong Announce Summer U.S. Tour Dates
Tumblr media
Weatherday, Michael Cera Palin, and Oolong Announce Summer U.S. Tour Dates. This five-week tour kicks off in Atlanta on June 18th and ends in Chattanooga, TN on July 26th. This is Weatherday’s first US shows! It’s an affordable tour that you don’t wanna miss! Check out the tour dates & get to a gig.
Tickets & more info here.
Also the rest of the split is up now, go listen to the songs by @Oolongli420 and @mcp_emo: https://cityescaperecords.bandcamp.com/album/edema-ruh
1 note · View note
pleasantmag · 2 years
Text
Sound and Fury Announce 2022 Lineup - and it’s SICK
Sound and Fury is back in the great city of LA and this is one of the coolest line ups I've seen this year. There are so many great bands playing this, including the return of Pity Sex, who hasn’t played a show in years as well as Angel Du$t, Anxious, Drug Church, Fiddlehead, Gulch, Militarie Gun, No Pressure, One Step Closer, Praise, Scowl, Spy, Superheaven, and more.  
Tumblr media
Tickets & more info - here 
0 notes
pleasantmag · 2 years
Text
Interview: Q&A with Slo TV
Tumblr media
Photo by Rosie Simmons
Philadelphia’s Slo TV are gearing up to release their debut album, Incomplete Structures, which was produced and recorded at True Level Studio by Tom Conran and Holly Smith. Additional recording was done at Sound Acres Studio by Conran. Guest vocals on this album feature True Level Studio owners Casey Cavaliere (The Wonder Years) and Adam Ackerman (Honeyjar). We caught up with Tom Conran for a Q&A session to talk about the band, the release, and their future plans! Check out the interview below and don’t forget to check out Incomplete Structures, due out May 6, 2022. Pre-order it here! 
______
Pleasant Mag: Thank you for being here to talk with us today. We’re so excited to interview y’all. So tell us, where did your band name come from & how did your band form?
Tom Conran: Working as a producer the past few years, I started experimenting with recording and mixing techniques as a sort of release or escape just trying to detach from the stress of life and make something.  When it got to a point that I wanted to realize some of this stuff I just started fully recording tracks before even deciding they would have lyrics.  It went from a few songs to an album quickly and I went to some friends for help.
I had been thinking about slow tv(marathon style broadcasting) as a format and idea during this time and it was the only name that felt right. We wanted to play with the contradiction of media and nature, another escape and influence for us.  
PM: What was the process like bringing on UnWoven’s Charlie Singer, CaraCara/Steady Hands’, George Legatos, & Darla’s Brendan Monohan?
TC: When I was writing the tracks I knew i wanted Charlie to record drums so when he was down to join the band I was stoked. He beats the living shit out of the drums and it really comes through in a beautiful way on the tracks. On the record Adam Ackerman lent his talents to the bass and some background vocals, so when it came time to translate that live, Honeyjar drummer Richie Straub, linked me up with Brendan and It was a perfect fit from the get go so I eventually got him to find me George as well.  First practice we had with George, he knew the songs better then me. Again a perfect fit.
PM: Can you tell us a little bit about what was the writing process like for your debut album? Was it collective among the band members?
TC: These tracks started out as ambient synth demos that were totally free form and were scoring some of Holly’s old art school video workfilms. Slowly the tracks built up into full band arrangements. After all the instrumentation was tracked, the songs just called for more. So Holly and I started to write lyrics with the focus of bringing some pop and poetry to them. It’s wild to reflect on the transformation of these songs since their inception.
When I got together with the band we focused on the emotional story we wanted to tell with each song.  Im still always working on l demos so I’m am excited next time around to bring them to the band and get their influence early on.
PM: Why did you choose a full length album to release first rather than an EP? Any reason in particular?
TC: I was really using this process to, process, if you will, a lot of events in my life and it was a large span of time so I ended up with 20 songs. I edited that down to 8 and felt like that’s what it needed to be.  
PM: Do you have a favorite song on this album? What is it and why?
TC: One of my favorite moments, sonically, is the second chorus of “Free Hands”. The overall composition of the section always guts me. It‘s a perfect photo of the exact emotion I was trying to explain.  This is the one song on the record that was actually about the past unlike the others which were reactions to the these two years. It is also the one Holly pushed me to write about, and her favorite on the album
PM: What was it like recording this album at True Level Studio, which you co-own with Casey Cavaliere of The Wonder Years?
TC: It was great, I was able to experiment and sonically carve out exactly what I wanted to portray. It’s such a a privilege and a pleasure to say that the entire record is made in spaces myself and Adam have acoustically designed, tuned, or made. True Level is co-owned with Casey, Adam and myself. We went to Sound Acres to track drums and then brought it back to True Level Studio to track everything else. Holly was able to step in on vocal production and recording, and as co-writer that led to really vulnerable tracking sessions.
PM: What are you most excited for now that the album is out?
TC: I am ecstatic to show people how these songs translate live. Rather then a direct redo of the sonic experimentation and exploration the record goes down, we went for a more emotion based translation of what the songs felt like. This creates an experience that has a relationship to the record but is also completely new and has room to expand.
PM: What are you hoping to get out of this release?
TC: I wanted to put it out there as a way to heal myself but if it helps anyone else get through anything that would be a cherry on top
PM: Any plans for touring this year? As a studio owner and a band with band members who are involved in many other projects, will that make touring challenging, if that’s something you’re interested in?
TC: As of right now, we hope to play locally as much as possible, and our release show is May 11 at Ortliebs! No tour on the books as of yet, but I’d never count it out! We’re all getting good at working from where and when we can these days so hopefully we are able to take any opportunities that come our way.
PM: Are there any bands you’d like to tour with? Dream tour lineup?
TC: Dream line up for me would be opening for Pedro the Lion, Broken Social Scene, and probably Radiohead headlining. Wild.
PM: What are some artists you’ve been listening to lately?
TC: Right now it’s the new Orville Peck, Soul Glo, and Wet Leg records with some old Willie Nelson records mixed in there.
PM: Anything else you’d like to add?
TC: Our record Incomplete Structures comes out tomorrow (5/6) and our record release show on (5/11) in Philadelphia at Ortlieb’s!
Tumblr media
3 notes · View notes
pleasantmag · 2 years
Text
Pile Announce May Weekend Shows
Tumblr media
Pile are playing their first shows since 2019 next month -
05/28 - Providence, RI at Fete Lounge, 05/29 - Brooklyn, NY at Market Hotel and 05/30 - Cambridge, MA at The Sinclair
Tickets + more info: https://bnds.us/ajp1ex
1 note · View note
pleasantmag · 2 years
Text
Joyce Manor Release “Don’t Try” off of upcoming album ‘40 oz. to Fresno’
Tumblr media
Joyce Manor have released their second single "Don't Try" from the album '40 oz. to Fresno', due out on June 10 via Epitaph Records
Pre-order the album at https://joycemanor.ffm.to/40oz
youtube
1 note · View note
pleasantmag · 2 years
Text
Roger Harvey Announces Canada Tour Dates
Tumblr media
Tickets on sale now at rogerharveymusic.com— 
06.29 at Sneaky Dees supporting Gregor Barnett
6.30 Eclectic Cafe with special guest Sammy 
07.01 FarmFest on Brightview Farm with special guests Kayla Mahomed & ALEX
07.02 The Collingwood Brewery benefiting Collingwood Youth Centre
Photograph by Cowtown Chad 
0 notes
pleasantmag · 2 years
Text
This is HC ‘22 Full Lineup is Announced
Tumblr media
This is Hardcore is back July 7-10 2022 in Philadelphia, PA at Franklin Music Hall. Hatebreed and Thursday will be headlining the fest, both celebrating past notable releases. Others bands performing include Madball, Terror, Comeback Kid, One Step Closer, Raw Brigade, Chemical Fix, and more. 
Tickets are on sale now at thisishardcorefest.com 
0 notes
pleasantmag · 2 years
Text
Sunday Songs Volume 9 is here!
Your favorite Sunday playlist is back with some great songs for you to listen to! 
Tumblr media
To listen, click here.
Make sure to follow us on ~Spotify~
0 notes
pleasantmag · 2 years
Text
Dikembe Announces Summer 2022 Tour Dates with Zeta
Tumblr media
Dikembe is hitting the road this summer along with Zeta. This east coast tour starts in Jacksonville on July 15th and ends July 26th in South Carolina. Support from Slingshot Dakota, Petrov, Gillian Carter, Rugh, and Glazed on select shows.
Tickets & more info: dikembedudes.com 
0 notes
pleasantmag · 2 years
Text
Mint Green Release New Single “What I’m Feeling” off of Debut Album
Tumblr media
photo by Athel Rogers
Staring down a world of possibilities, Mint Green's latest single "What I'm Feeling" is a song that's lush and dreamy like the fantasy of a potential future, but intense like the arena rockiness that can sometimes come with the beginning of something new. 
youtube
It's the latest to be released from the Boston, MA band's debut album All Girls Go To Heaven, due out on June 3 from Pure Noise Records. Since opening a lush vein of rock with their self-released EPs Growth (2016) and Headspace (2018), Mint Green has formed a tender bond with listeners all over the dizzying highs of crushes, the sting of soiled relationships, and nagging bouts of self-doubt.
All Girls Go To Heaven centers around the idea of paradise, but instead of the palm tree sun-soaked image that comes to mind, it's about discovering what that means to the individual, and how freedom can be found through introspection. "Anyone can achieve this so-called "sacred" destination by simply believing that they belong there," vocalist Ronnica explains. "Or rather, creating their own definition of what heaven is."
0 notes
pleasantmag · 2 years
Text
Camp Cope Announce US Full North American Tour
Tumblr media
Run for Cover Records trio Camp Cope are returning to the US this summer for a full North American tour in support of their most recent full length release, Running with the Hurricane! Select Canadian shows with @lucydacus. As of right now, support has not been announced for the US tour dates. The tour will kick off in Boston in July and end in LA in August. 
Tickets on sale next Friday 10am local time. http://campcopemusic.net/#tour
0 notes
pleasantmag · 2 years
Text
One Step Closer Announce Euro Summer Tour Dates
Tumblr media
One Step Closer are touring Euro this summer along with Stick to Your Guns, Counterparts, Zulu, Scowl, and Lionheart. Check out the dates above and pick up your tickiessss. This is a tour you don’t wanna miss! 
0 notes
pleasantmag · 2 years
Text
The Wonder Years Return with “Oldest Daughter”, Announce New Album
Tumblr media
Photo by Kelly Mason
Philadelphia's The Wonder Years return full force with the release of their new song, "Oldest Daughter." They kicked 2022 off with a near-entirely sold-out headlining tour, one that found them celebrating two of their most beloved records: 2010's The Upsides and 2011's Suburbia, I've Given You All and Now I'm Nothing. On another discography standout album, 2013's The Greatest Generation, vocalist Dan Campbell sings of alcoholism and the "bitter and vitriolic" trappings of the east coast winter in a song called "Madelyn." Nearly a decade later, "Oldest Daughter" picks up where that song left off. The energy here is much different but the ending remains unfortunately the same. "It's about coming to the understanding that you can't save everyone," Dan explains. "There are going to be people you love who will destroy themselves no matter how badly you want them to stop." Every release from The Wonder Years finds the band pushing the limits of their sound, but this song truly feels like they're pulling from all the best parts. Produced by Steve Evetts (the same producer who worked on Suburbia and TGG) over the course of late summer 2021, "Oldest Daughter" was first tracked live at the Foo Fighters' Studio 606 and later finalized at Evett's former studio in Garden Grove, CA. A new full-length album is forthcoming later in 2022.
youtube
0 notes
pleasantmag · 2 years
Text
Track by Track - Tiny Blue Ghost - ‘The Underneath’
Tumblr media
Photo coutesy of the artist
Hailing from Kingston, New York, Tiny Blue Ghost just released their highly anticipated 5 track EP, ‘The Underneath’ on Count Your Lucky Stars Records, which you can order here! 
It's been three full years since Tiny Blue Ghost has released anything, so it's fair to wonder what their newest output would sound like. We finally have an answer- 'The Underneath' is all about growth. There is a lot of atmosphere here and space for things to find themselves. It feels like things are settling into their right places after years of searching. It feels like a band with an identity. 
We are so excited that we got to do a track-by-track of ‘The Underneath’ with all of the members of Tiny Blue Ghost. Listen & read below! 
We Intertwined
youtube
Riss: I had the main guitar line stuck in my head for a few days, and was excited to show it to the band. For some reason I had a post-rock vibe in mind, and thought it’d be cool if I was the only person who had the same repeating part while everyone else gradually built up to the explosive moment towards the end of the song. The lyrics originally were a lot longer, but I decided less was more - especially in the brief time I’m singing in this song. It’s one of the few love songs we have, and everyone did a great job making it feel super emotive. The music speaks for itself.
Andy: [NOTE: Almost nothing of my track-by-track notes is from the moment we jammed or wrote the songs. They’re all recollections from altering what I was writing in my spare time.]  I remember Kyle suggesting the “French horn” style bass line, but I eventually settled on the reverse of Marissa’s movement. It’s a pretty simple shape of a bass line that repeats with slight changes in note length to reflect the changes in Joey’s drumming, and then dropping to the lower octave on the low D to close it out.
Kyle: I most importantly wanted a guitar part that felt light and danced through the open space on the track to create a more dense arrangement. I wanted it to constantly progress through the song if I could, never returning to a part after it was played. I considered the role of the french horn in a Vivaldi piece or the lead in a Mogwai song. They would do just that, it felt like butterfly wings flapping through a meadow.
Kristoff: The rest of the band started writing this song before I was officially a member. I remember the first time I heard the demo of this song I was at Riss & Joey’s apartment, and I started jamming along to it on their toy piano - it is pink and sounds kinda like a xylophone or bell set. I was just playing these really simple lines walking up and down the scale. When I started playing with the band I tried to bring that same simplicity to the parts I played on the actual piano, and spent a while figuring out how to match the dynamics of the song - it ended up being a mix of gradually playing faster, louder, and higher on the keyboard over the course of the song.
Joey: For this song I really wanted to focus on dynamics and a gradual build. As the rest of the band sprawled out into all these beautiful twinkling melodies, I wanted to keep the song locked down with a pleasant groove, while still complementing the intricacies of the other instruments.
Stone Balloon
youtube
Riss: Just for context, all of these songs started out in a jam session of some sort. Because of that, vocals came last in the EP writing process. Sometimes, I like to envision another artist when writing lyrics and vocal melodies, and for whatever reason I pictured Thom Yorke singing this song. It’s a weird range for my voice, but since it’s a song about having anxiety I think it literally showcases the highs and lows a person goes through when dealing with anxiety. At some points it feels like drowning, at other points you’re coasting above it. It’s also fun to have a guitar part that is literally just two chords in a wash of shimmery reverb. The fun ending of the song is actually the one part from the initial “jam” that we extracted, so we worked backwards in a sense to build out the rest of the song.
Andy: I believe this began as a drum/bass groove (but I could totally be wrong), so it makes sense that Joey and I kind of carry it through the song.  I don’t really recall writing most of it, but I remember once again looking to mimic Joey’s drumming in the second part of the second verse. I also remember that during the recording process I added in the proggy tails to vary the outro/ending.
Kyle: I wanted a guitar sound that was sharp and abrupt to contrast Marissa and the tidal wave of reverb she controls in this song, and like We Intertwined I wanted it to be a part that didn't make sense to me note wise. I wanted it to feel slightly off and give an uneasy feeling to the song that breaks into a familiar wave of delay in the chorus that blends in.
Kristoff: This was also one where I wasn’t around for the initial jam where the structure of the song was written, but I started playing with the band as we were ironing out everything. In this song I started playing with a bit more ‘synthy’ synth sounds - for the verses I’m playing one or two notes pretty low on the synth, then tweaking filter cutoff with my other hand to create the feeling of an ocean wave rising and falling above and below the rest of the texture. The lil arpeggio I play on the choruses initially came out of mirroring the notes from one of the lead guitar parts, but at a different speed and in a different order.
Joey: This is my favorite song to play. Andy and I locked into that groove in a jam and it was game over from there. Throughout this track (and others) I’m leaning into a kick-heavy and driven type of feel that you can hear in 2000’s post hardcore and post-punk stuff like Interpol.  The ending of the song to me is sort of an homage to artists like Palm that can step WAAAAY over the bar in the gnarliest fashion and still stay locked. A bit of indulgence for sure.
In Blind Sight
youtube
Riss: This song originated from a jam that came from last year when we were writing LP3 (which doesn’t have a set release date yet). It was one of those songs that only kind of worked, so we shelved it, but I wanted to give it another shot. Everyone worked really hard to rework what little usable material we had in the original demo, but ultimately I think we landed in a really great place. Lyrically, it’s about my struggle with body image and knowingly being mean to myself, which makes the explosive vocal part towards the end more like a cathartic wail.
Andy: This one was a bit of a challenge to write from my perspective, especially in the verses.  I felt a bit restricted, but I knew that I wanted to move– but not too far!  I remember I had created this lead part in that in-between area of the song that I think really works well with Kristoff’s piano work.  Ultimately, I saw that space to be filled with more flittery movement, whereas the choruses and bridge part (I suppose technically what would be part “D”) as a space to be more driving and direct.
Kyle: I was inspired to write the lead guitar riff after listening to the Electric Prunes and to U2’s first album. The Edge did these haunting, mesmerizing leads that just kind of meandered and felt like falling leaves. For the ending I wanted my guitar to sound like it was a rocket ship breaking upon re entry into the atmosphere after kinda hanging in this interstellar orbit all song.
Kristoff: On this song I got to really write some wilder keyboard parts. The synth lead right after the first chorus was originally repeated throughout the verses, but I ended up scaling it back a lot after Riss added vocals to the song. I really enjoyed coming up with a part for the bridge - sort of a sparkly electric piano with an insane delay effect. I believe it was a delay/echo effect with a specific repeat count, rather than a normal feedback control - that way each line comes back 3 or 4 times at a high volume than stops altogether, without it descending into an infinite feedback loop.
Joey: This song was an interesting challenge for us all to try and land on and I especially struggled with the appropriate tone and approach to take— at the end of the day I think it’s clear to hear that I took the lead from my wonderful bandmates and what they’re playing on this one.
Lose the Hat
youtube
Riss: The lyrics to this song I had written way before the song existed. I was feeling frustrated about the general state of the real world vs the falsehoods of what’s presented online (inspired by watching Bo Burnham’s “INSIDE”). It was a page in my phone’s notes app, and was by far more out there compared to my usual writing style. When this song started to take shape, I decided to try something new and do a more post-punk influenced vocal. I quickly learned that there was no way I could play my guitar and do the vocals at the same time, so when we do this song live I ditch my guitar completely and jump around on the microphone. I definitely grew into myself with the vocal style the more we practiced, so the recorded version of this track is more lax and our live version gets INTENSE.
Andy: There isn’t much to say about my writing behind this song.  I knew that with the style of the song, I needed to be direct.  Additionally, I didn’t want to write a bass line that would distract from Marissa’s vocals, Kyle’s lead, or Kristoff’s writing.  I saw small opportunities in the final sections to throw some hammer-ons and bends to accentuate the change in the flow.  It also works well with the outro of the song, which has more major bends and slides.  I also loved the opportunity to scream at the end of this track.  Stepping up to the mic was pretty fantastic in support of Riss’s vocals.
Kyle: One of my music heroes is Brian Eno, and for his song “Here Come the Warm Jets,” his guitars inspired me to create the lead for this song. I wanted almost hot, fuzzy, out of sync atonal notes careening next to each other like they were drag racing, or like they were both falling and smashing into the walls and each other. It's a loud mean song so I wanted a loud mean guitar riff.
Kristoff: This song is fun. When we tracked this song, my hand was bleeding by the end of the session, since I was doing lots of long glissando/smears on a hammer-action keyboard (now when we do this live I play it on a synth keyboard so it’s less painful). All my parts on this song are really simple, since I wanted to be able to have fun playing it live. There’s one fill after the first chorus where I just smash both arms down on the whole keyboard for four beats in a row, and that’s the kind of energy I like to bring to a show.
Joey: I wanted this to be a sort of crowd pleaser/hype track, and the whole writing process for us all for this one was just an approach of how much fun can we have? And we sure rose to the occasion in that regard. I’m locked in with Andy for maximum head bang-age and hitting hard. Over recent years as a drummer I’ve tried to master restraint, however that was not what the assignment called for here!
The Plunge
youtube
Riss: The Plunge was the last song we wrote for the EP, and having already aired my grievances lyrically on the other songs, was pretty stumped on what to write about to conclude the EP. It’s a pretty dramatic song, so I wanted vocals and lyrical content to match that energy. I ended up writing about a recurring nightmare I have about being stranded off of a boat in open water, and really pushed my belting vocal range to capture that sense of panic. My guitar parts feel like water ebbing and flowing, growing more or less aggressive as the song spirals downwards.
Andy: One word to describe my choices behind the majority of my work in this song: flow.  I knew that I wanted to differentiate my writing between the two verses.  I saw the first verse as more docile, especially in the realm of the song’s meaning and direction.  The calculated, metronomic notes that I opt to play during the first go around are reflective of a slowly oncoming movement.  As the song moves along, the flow increases.  My movement begins to be more varied and chaotic.  I knew I wanted to convey the loss of control through this choice.  As for the ending, I loved working through the creative process of figuring out where to go, how to bring the chaos further, and how to ultimately end the EP.  It’s one of my favorite songs I’ve ever had the chance to write on.  
Kyle: I wanted a guitar riff that felt like cold water ebbing and flowing, or like soft moss floating in the currents. I wanted it more to be a “feel'' than a note. Not everything needs to be rigid; feeling is just as important as the tangible.
Kristoff: For the first parts of this song, I went back to the same water metaphor from Stone Balloon - very simple parts that ebb and flow in the mix. For the ending part, I originally pitched the idea of a very cheesy Beatles-esque cadence/turnaround, but that evolved to become very weird and dark - this alternating half step down, half step up line. When we play this song live, I use a super distorted organ sound for the ending - it sorta comes from nowhere and underscores the auditory chaos of the rest of the band in that section.
Joey: I’m absolutely channeling that aforementioned 2000’s post-hardcore-ish vibe heavily again here. I wanted the heavy parts to be really felt, and the quieter moments to shimmer rhythmically like how the strings and keys are shimmering melodically. The ending is a younger version of myself just letting loose. It’s the closest thing to what I used to play in hardcore bands that I ever play in TBG. 
Listen/purchase: We Intertwined by Tiny Blue Ghost
0 notes