Interview: Acres

While on the road with Casey for the Welsh band’s farewell tour, we had the opportunity to speak to Ben Lumber and Alex Freeman of Acres about their upcoming album “Lonely World”. Keep reading to find out more about the inspiration for the band’s debut album:

If you had to trade bodies with someone in the band, who would you choose?

Alex: Jack. He’s our unofficial bassist, he’s like 6’5″ and a beast. It’d just be cool to see what it’s like that high up, he’s nearly a foot taller than me. It’d be cool to feel like a giant for a day and to be able to reach things.

Ben: That’s really hard. I really like my body. Probably Connor. He works out a lot, so I’d be able to go for a jog, do things I don’t normally do…

Your debut album is coming out very soon. Would you say it’s telling one big story or several small stories, is it one big concept or several smaller ideas?

Ben: I wanted each song to be a different story, but with the same meaning. I try and write songs as honest as possible, about things that people can relate to. The message is sort of like “if you’re going through shit, you’re not alone”.

In some of your social media posts leading up to the album you already mentioned that honesty is a central aspect of the album. What does “honesty” mean to you personally?

Alex: Writing about real life situations.

Ben: I don’t want to write songs that don’t mean anything to me, personally. I like writing about things that have happened to me which I think other people could relate to.

How did you approach the writing process, now that you were making an album as opposed to the EPs you’ve released before?

Alex: This time, Theo [Acres’ other guitarist] wrote all of the music by himself. Before that, it would be me and Theo contributing, but it got to the point where I realized that Theo is a lot better at writing songs than I am. He killed it.

Ben: I joined when “In Sickness” was already recorded, so that’s what I had to work with. This time, the music is written more suitably to my needs and abilities. I can be myself a lot more than I was on the EP.

Alex: When Ben joined, all of the music had been written for our old vocalist, who just did screaming, so there was a lot of melody within the strings, because there’s no melody in the screams, unless you’re Sam Carter, who can hit crazy notes. Listening back to it now, it sounds like he was struggling to stand out because there was so much going on. This time around, the verses and the choruses are made a little bit more simple to let Ben shine.

What are you most proud of on “Lonely World”?

Ben: With any record I’ve ever recorded, you listen to it 6 months later, and you’re like “I wish I’d done this, I wish I’d done that”, but with this record, I haven’t done that yet.

Alex: We recorded it a year ago, and I still like every part of it. I remember listening to “In Sickness” a year later and hating 75% of it.

What would have to happen in order for you to consider “Lonely World” a success?

Alex: I think it’s already a success. Everything that we’ve released off of the album has surpassed all expectations. When we released the song “Lonely World”, I thought it would be a slow burner, but it’s gone off. It’s crazy to see how quickly people are singing along at shows. No one in the band really has an ego, no one thinks we’re going to be the best band in the world…

Ben: As long as people give a shit about our music, we will continue doing it because we’re happy doing it right now.

As you said, it has already been a year since you recorded “Lonely World”. Have you been thinking about new stuff already? Is there anything you would like to try on future releases?

Ben: We haven’t started anything yet. I’ve been hammering onto Theo, saying “let’s get this going!”, but we will probably start writing some new stuff in July. We really found our sound that works for the band, and people are liking it, so I’m super excited to keep it going.

You’ve already toured with Casey before, a few years ago, and now you’re out with them again, but this time it’s their farewell tour. What’s changed in the meantime?

Alex: We’re tighter as a band, as friends…

Ben: When we did that tour with Casey and Burning Down Alaska, it was our second ever tour, I was still new to the band. Now everything has fallen into place.

Alex: Over the years, our relationship with Casey has grown. We haven’t toured together since then, but we’ve stuck together because we’re both British melodic hardcore bands and I think we’re also better friends now. We’re older, we’re wiser, we’re not stupid… we’re more comfortable and more mature as a band. But I think the biggest difference is knowing that this is it for Casey. We’re all just cherishing the moment. A lot of people at the shows are here for Casey, we’re just here for the ride.

Who would you like to tour with in the future?

Alex: Deftones, Thrice, Circa Survive, Nirvana, Metallica, Slayer, Slipknot. But realistically, Loathe, Holding Absence, Modern Error, Hot Milk. British music right now is really cool. And there are also all these American bands. I’ve always kind of dug Silent Planet and we just toured with them. Let’s just say, we’d love to tour with all of our friends from the UK.

What is your personal faultless sound?

Alex: 80’s reverb guitar sound. Or rain on a window. I have an app on my phone and when I can’t sleep, I’ll just plug in my headphones and listen to nature sounds. I have three: rain on a window, light thunderstorm and rain on a tent.

Ben: The sound of my son laughing. He’s two years old and he has the funniest little laugh.


Interview: Matt Walter

For the first post in 2019, I have something a little different for you guys. I recently had the opportunity to do an interview with a fellow concert photographer, whose work I have been admiring for quite a while. Matt Walter is a music photographer from Brisbane, Australia. He hosts the Filter Photography Podcast

Who was the first person you shot? What was the first show you shot? 

The first person I photographed, or band should I say, was a band called Poncho Pilot. I had no idea who they were, and I didn’t know what they sounded like, but they were playing at a really small bar in Brisbane called The Beetle Bar. The venue isn’t around anymore and used to be below a backpackers hostel. I figured if the band was small, and the venue was small, then the chances of benefiting from any photography was higher. I don’t think the band are around anymore either. My photos were horrible. That’s just how it goes when you start I guess!  

What is your least favorite aspect about the work process? 

Honestly, I hate editing photos. It’s probably the most important part of the work process because it is what makes your photos different from the person who was taking photos beside you at the time. But it’s just such a hard slog. I am a notoriously slow editor. I still meet my deadlines but what others would turn around in 30 minutes takes me around 3 hours. I just get really meticulous about the whole thing, even though sometimes it doesn’t actually add anything but time to the process. I just wish I could shoot all the time instead!  

How would you describe your editing style? 

I would describe my editing style as being pretty heavy on the contrast and accentuating the dynamic elements of the image. So maybe, I would describe it as gritty? Gritty sounds very extreme, but I guess it’s in that vein.  

What is your favorite way to keep learning new things and improve your work? 

I find I learn best or improve my work in two ways. Firstly, the more you shoot, the more experience you get. That one is a bit of a no-brainer. The other thing I do to keep learning is to spend time understanding the band and their music. I think when you really understand the band, on a deep level, you understand the differences in their live set to what was recorded. Even on a really small level. What the audience might not see changed, is often just a preference for the band when they play it live. For example, Ceres’ ‘Choke’, is sung differently in the chorus to the recording. When Tom sings it, he often pulls his head back. A simple change, but if you anticipate the action, you can get some different photos to the person next to you.  

Is there something that’s out of your comfort zone that you’ve been wanting to experiment with in your work? 

 Good question! For me, photographing any band I haven’t photographed before is outside of my comfort zone. I’m an extravert-introvert with a touch of depression I manage, so sometimes meeting new people can seem like a huge risk to me. It could be the first step of an awesome working relationship, or it could be a very clinical transaction. It never is a grind, but me being me makes me feel like they would perceive it that way. Mental health, hey! I’m fortunate enough to work with so many legends and have only met a few people I wouldn’t work with again. But I think that’s the excitement of the music industry. I’d love to work with some emerging bands like RAAVE Tapes and Pandemic who I think are doing great stuff. I’ve met both bands once but it’s been fleeting. And I hope our talks turn into a great working relationship and they like my work as much as I like their music. 





Interview: Citizen

With their most recent release “As You Please”, Citizen have experimented further with their musical style. Read on to find out what influenced them during the writing process, what direction they’re going next, and more.

Faultless Sounds: If you had to trade bodies with someone in the band, who would you choose?

Nick Hamm: That’s a good question. Probably Jake, because he has a big chest and I have an anti-chest, it’s really tiny, so I could use some of his. I don’t want Ryland’s shitty tattoos, so I’m gonna go with Jake.

As of today, “As You Please” has been out for two days. How has the reception been so far?

Nick: It’s been unbelievably positive. It really feels like there’s a consensus that people really like it. I don’t think we’ve ever released anything that had such a positive reaction immediately.

How did it come to be such a cohesive album?

Nick: We didn’t go into it with a clear vision, so to speak. We just started writing and we were all really excited about the songs right off the bat. We spent one and a half years writing the album and we just got a little more daring as time went on.

In the end, it’s probably the lyrics that tie it all together.

Nick: Mat certainly does a really good job writing about what his world is at the time, that’s been true with every album that we’ve done. If I write something and give it to Mat, he just has a way of knowing exactly what the vocals should be, and even though it’s not the same person writing the instrumental parts and the vocals, it ends up feeling like one song, not just segments coming together.

So what’s changed for you since “Everybody Is Going To Heaven”?

Nick: We all got better at what we do, individually. We became better writers and better players. Two of the songs on the new album were Ryland’s first time writing for the band, which is pretty crazy since we’ve been a band for so long. He started working on songwriting more and more and then he wrote “Medicine” and him and Mat wrote “Discreet Routine” together, which I think are two of the best songs on the album.

Was there a certain artist or band that accompanied you during the writing process that might have influenced the final result?

Nick: There were certainly some bands that I listened to a lot that I didn’t the last time around, but I’m not sure if it came into play as far as influence is concerned. When you start working on an album, you’re listening to one thing, and by the time you’re finishing it, a year or more has passed, and what you’re listening to has changed completely. At one point during the writing process, I was obsessed with Interpol and Savages. And then Mat wrote the song “Fever Days” and sent it to us and the bass line reminded me of a bass line that would be on a Savages album and it just felt amazing, like the minds are connected in some ways. Mat was also listening to a lot of David Bowie and taking in a lot of new influences. We were all just kind of dabbling in new things.

That’s something that really surprised me. With some of the new songs, the only thing that gave it away that it was a Citizen song were the vocals, because everything else was so different. What’s your favorite new element that you’ve incorporated on this album?

Nick: We started using samples, like on “In The Middle Of It All”, and that’s not really something a band like us would be thought to be doing. Mat also decided he wanted to play keys, so he just bought a keyboard, learned, and did it. So this is the first album of ours that has keys on it, and I think as we go on, we’ll probably explore that a bit more. It’s exciting and really rejuvenating to add things like that into the mix.

What’s the best thing you’re hoping for during this album cycle?

Nick: I’m hoping we get to play some new places. We have hit that point where we’re just playing the same areas over and over, so I’m hoping we can see some new things, hopefully we can explore Europe a little deeper next time. We also want to go to Latin America, maybe even Southeast Asia.

What’s your album of the year so far?

Nick: The new Alex G record, I’ve been listening to that a lot lately. Right now, that is probably my top, but there’s time for more. I really like the new Vince Staples album, but it’s funny, because I think the end of the year is mostly when things start coming out that I get really excited about. Maybe I’m just more responsive to music in the fall, for some reason.

Would you rather never play or never listen to music again?

Nick: I think I would rather never play music again, because I just listen to music too much. If I’m not playing music, I’m listening to music. And I only play music for like an hour a day, but I listen to music 24 hours a day, so I would get rid of the guitar and just listen to music.

What is your faultless sound?

Nick: I don’t know why this is, but I love the sound of orchestras tuning. For some reason, I’ve always liked it. I was in band when I was in school, so maybe it reminds me of that.

What instrument did you play?

Nick: I played trumpet. That is a very far cry from what I’m doing in Citizen now, but I really want to get back into it.

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Interview: State Champs

State Champs have been touring almost non-stop for the past two years. Read on to find out what they have planned next, how they cope with being away from home, and more.

Faultless Sounds: If you had to trade bodies with someone in the band, who would you choose?

Tyler Szalkowski: That’s a tough one. Derek is too thin. Probably Evan, he has a great body.

Tony Diaz: Same, unanimously.

Tyler: He’s strong and defined, he looks nice with his shirt off…

Tony: He’s a drummer, so he has good cardio, he doesn’t get tired easily. I’ve got bad knees, bad ankles… That’s why I gave up on drums; I used to play drums.

Tyler: Basically, no one would want our bodies. Everyone wants Evan’s body.

Today is the last day of your European festival tour. What’s been the best thing about it so far?

Tyler: For me, it’s been checking out some new cities. We got to go to Sweden, Denmark, the Czech Republic and Hungary for the first time.

Tony: We really enjoyed just walking around each city. With a tour this big, we don’t have a lot of responsibilities, so we had a lot of time to go out and explore all these new places.

Tyler: The highlight is actually getting to enjoy it. Last time we were here, we were headlining, there was VIP and sound check and all that. So now we get to be tourists and that’s nice.

Does that mean you prefer being a smaller band on the lineup instead of the headliner?

Tyler: We’ve been headlining for the first four months of this year, so we’re good. Headlining means you get to play to all your fans; they’re there for you, and sometimes those shows are more fun, but when you’re supporting, you play to an impressive amount of new people. They both have their perks.

How would you describe the music you play in one word?

Tony: I would say “positive”. Derek’s lyrical message is very uplifting.

Tyler: Our songs tend to be very resolved. And if you are bummed out, usually by the bridge, you get the resolution. So “positive” is a good word. I feel as though for some people our music is “nostalgic”, in a way. It makes you want to drive with your windows down, in the summer time… It’s always some feel-good, sugar-rushed pop-punk. It’s fast, it’s fun, it’s friendly.

Is that why you enjoy writing and playing pop-punk?

Tyler: We grew up on it. Tony is a couple years older than me. I grew up in the era of Good Charlotte, Simple Plan, The Starting Line, New Found Glory etc. and when we decided we wanted to make music, we wanted to write stuff that we liked.

You’ve started working on new music already. Will there be any collaborations on the new album?

Tyler: Maybe. Hopefully. We have to see who wants to collab with us first.

So, nothing planned yet?

Tyler: We have some stuff planned, but no collabs as of right now.

Tony: The door is always open. We keep a pretty open-minded look on our music; we don’t want to pigeon-hole ourselves into one thing, we won’t say that we’ll only do a collab if it’s this one person. We haven’t gotten around to it yet, but we’re open to any opportunity.

Tyler: We’re always looking to grow and adapt; can’t keep making the same record over and over. You have to evolve, too.

You said it would be a ‘new chapter’ for State Champs…

Tyler: Yeah, Kerrang! said that. That sounds really dramatic, and it’s not going to be that dramatic. It’s still going to sound like us.

Tony: We’re not going to put out a record where you’re like “what happened? who is this band?”.

Tyler: But there are going to be a couple tracks that go in different directions, but we do that already anyway. We always like to make a record with a core of songs that stay true to who we are and a couple on the outskirts that let us push in different directions and try new things.

You’ve been ‘around the world and back’. What has been your favorite day off?

Tyler: Mine was in Australia. There was this cove with a 20 or 30 ft. cliff, so we went swimming, cliff jumping, we played football… it was a really nice day with us and Neck Deep just hanging out.

Tony: We usually make the most out of a lot of our off-days, especially internationally. There’s not really any that outweigh the others. I liked any time that we spent off in Japan. It’s a really wild place.

Tyler: It’s a completely different world. It feels very futuristic.

Tony: There’s this one restaurant we went to: You pick your food and pay at a machine, and then you go in and you lay down your receipt and the only human interaction is when they hand you your food.

Tyler: That was great, it erased the language barrier. We don’t speak Japanese, you know, it’s very challenging.

You’ve been touring almost non-stop lately, which can take its toll on your mind and body. What do you do to clear your mind?

Tyler: Every one of us does different things. I go out and party a lot, I drink and have fun.

Tony: I just seclude myself and play video games or call home. I’ll face-time friends or family, that kind of stuff. We live with twenty-two other people on this bus; it’s us and Issues, and you’re around people all the time. Personally, I do value alone-time a lot, so it’s good for me to get away for a while and mentally reset.

Tyler: I’m very extroverted; I take comfort in other people. I go out and lose myself there.

What’s been your favorite music release so far this year?

Tyler: The Maine and Paramore are pretty high up for me. And I’ve heard the new Lorde record is very good.

Tony: I’m ready for the new Carly Rae Jepsen. I’m really into pop music. Paramore is my number one right now, though.

Tyler: I’ll also stick with Paramore.

Lastly, what is your personal faultless sound?

Tyler: My favorite sound is waves on a beach. Like a super relaxing, calming white noise. I love that shit. I’ll fall asleep to it; I’ll do anything to it.

Tony: What fires me up the most is like the “load screen” music from a video game or something, it just hits a weird, nostalgic note in me.

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Interview: Decade

Three years after their debut album “Good Luck”, UK band Decade have recently released the follow-up, “Pleasantries”, which proves that they’re ready to leave their pop-punk past behind. Read on to find out what the present and, possibly, the future has in store for them.

Faultless Sounds: If you had to trade bodies with someone in the band, who would you choose?

Alex Sears: Probably Dan, our drummer. He’s small, but deceivingly strong.

Connor Fathers: I’d swap with Alex; he’s got a secret tail. He’s got a little monkey tail, he’s the missing link in the evolution of humans. He never tells anyone about it, though; he’s probably really angry I mentioned it. I’d just like to see what I can do with it.

Alex: You can’t do much with it.

Connor: I feel like if I had your body, I’d be able to do something with it. Maybe dip it in some paint and paint something.

Alex: I was going in low, but you hit the bar!

You’re touring with Counterfeit and Tigress, which is really cool. What would be your dream line-up?

Connor: Weezer would be awesome. Old Weezer.

Alex: Weezer, if they only played the first two albums.

Connor: Queens of the Stone Age would be pretty cool; we wouldn’t fit on that line-up, but I’d love to play with them. I mean, tonight’s line-up is kind of varied, too, and I think those are the best kind. Maybe Madonna, if we’re talking something completely different.

Alex: Or James Brown opening for us, if he could.

Staying on the topic of diverse musical influences, what are some that have had an impact on you?

Connor: We really like Oasis.

Alex: That’s not even a joke.

Connor: Yeah, Oasis and beer. That’s not a musical influence, but I think every great album was written under the influence of beer.

Alex: Dynamically, I would say bands like Nirvana, Radiohead, the White Stripes… When we wrote the first album, we wanted to sound like a pop-punk band, but we took more of our personal influences into account when writing the second album. So rather than choosing bands we wanted to sound like, we would just write music that sounded like the bands we actually enjoyed listening to.

Connor: Right. If you write music that you think will be successful, it might not necessarily be the music that you really like. And I think that resulted in kind of a strange sound because the five of us listen to so many different things. Our influences come from all over the place. Mainly beer.

As you already said, there was a gap of several years between your last two albums. Did you have any difficulties finding out what direction you wanted to go in?

Alex: It was more of a natural thing. We wrote the first album wanting to sound like a pop-punk band, then we toured it for a good while. And, naturally, our taste in music just changed. We were a lot younger when we released that first album.

Connor: The gap between the two albums was not so much because of a creative struggle; we were always writing; it was more because of contractual problems with our label that took some time to resolve and get a team behind the new album. We wrote about an album’s worth of material between the two albums that never got released, but we didn’t have the right team to release it at that moment, so now there’s a hidden album somewhere out there. Maybe we’ll release it one day.

Alex: It’s on my laptop, just sayin’.

How would you describe the sound of your new album “Pleasantries”?

Alex: The underlying genre would just be “rock”. Most songs have quite a poppy structure. We tend to write big choruses, but quiet verses.

Connor: What we really want is to just be a rock band, because I think the whole genre-thing, dividing everything into little subcategories, like pop-this and punk-that, post-something, all these little boxes you have to fit in.

Alex: As soon as you say you’re a pop-punk band that’s all you’ll ever be to people. Even now, we get people saying “pop-punk band Decade releases new album”, like, have you even listened to it? It’s not a pop-punk record because they associate the name with it.

Connor: After you put out your first bit of music, most people stick that label on you and that’s what you’ll always be to them. But rock bands, thirty, forty years ago, Led Zeppelin, Pink Floyd and the like, they would have entire albums without distorted guitars and heavy drums. They were really quiet songs, barely any guitar at all, some keys or some weird bongos, but they were still a rock band and they played rock music. Rock has always been that all-encompassing term. That’s what we want to be. We want to be able to do a bit of grunge, a bit of punk, a bit of pop, some soft ballad stuff… We want to be able to move around freely, without having to worry about “is this pop-punk or what is it?”. We’ve got instruments that make noise. Let’s play with them and see where they go. Some people have woken up and realized that we’re not a pop-punk band anymore, so now they call us alt-rock, but if we are alternative rock, then what is rock? I’m not complaining, I just don’t quite understand. I’m happier to be called alt-rock than pop-punk for sure.

So you really hate pop-punk now, huh?

Alex: I still listen to plenty of pop-punk bands, and I’d never say it is bad, just a mislabel for our band. But if we’d never been a pop-punk band, we’d never be where we are now.

Connor: People who don’t like pop-punk will sometimes just not give the music a chance, whereas if you say you’re a rock band that’s different. Everyone likes a bit of rock, even the people who just listen to hip-hop. Everyone likes at least one rock track. Everyone sings along to Smells Like Teen Spirit. Everyone knows… that’s grunge, not rock, what a fake.

Alex: Don’t call my favorite band rock!

While writing “Pleasantries”, did you focus on what you wanted to evoke in the listener or did you just write for yourselves?

Alex: The main themes of the album are life and death and the way people fill the void between the two things. It’s about how people interact with each other, and also about how people contradict themselves; all the little things that we do that make us human. So I would say that could pretty much evoke emotion in anyone; I’m not saying it’s for everyone, but everyone is a human; everyone has those moments where they just don’t know what they’re doing and where their place is in the world and what they should do with their life. So I think it’s quite universal, in that it could evoke feelings in a broad spectrum of people. But we did write it for ourselves, really, going back to the fact that we wanted to write something that we would enjoy listening to. I guess it was a bit of both.

Connor: I think there’s only one part on the album that we did think about a lot, production-wise, not necessarily lyrically, on the closer song, “Capsules”. Over half of the song is really quiet, just one guitar and Alex singing. I always had it in my mind that someone might be listening to that with their headphones in as they’re in bed, last thing at night. I like listening to music when I’m in bed. And I had the idea that it would get to this slow, quiet song and you might doze off to sleep, and at the very end it slams in, full band, really loud, and it just jumps. And in my mind, I wanted it to be like a lullaby. I wanted the listener to have been put to sleep by some really sweet music, and then get woken up by this amazing moment at the end. It was the same with “Peach Milk”, it starts off slow, and you think “is this a Coldplay song?” and then, out of nowhere, this almighty riff comes in. For moments like this, we definitely considered the surprise element to the listener, and it’s fun to think of it that way. That’s the thing with albums that you don’t have with singles: How much can radically change in a 3-minute song? Especially on the radio, they don’t like massive changes, they want the same thing, so you can listen to it every day and sing along in your car on the way to work. When you have an entire album, you can do almost everything, and that’s a nice surprise for the listener.

Do you prefer playing the old songs or the new ones live?

Alex: Definitely the new ones. We toured the old album for so long and we just got so fed up with it, so now that the new album is out, we’ve got the flexibility to play that stuff and people actually know it to some degree.

Connor: There are quite high-energy songs from the first album; they’re all very pacey and fast, and that’s great, especially when you’re in a certain kind of mood, it’s great to have that sort of energy. But as you said earlier, it’s been so long since the first album came out, so it’s nice to have some more dynamic songs that slow down. You’re not constantly out of breath and jumping around, going mad. In a lot of ways, it’s more of a challenge to play songs that are loud and fast and then all of a sudden it drops down and it’s very intricate and quiet. There’s no hiding when you’ve got quiet moments; they need to be done right. Whereas with the high energy songs from the first album with distortion turned all the way up, you can be scrappy, you can make mistakes, and it’s just punk rock. And then after those high energy shows you come off stage and think, “we played terribly, but it was really fun”.

Alex: You have a good time, but as a musician, you feel less accomplished.

Some songs on “Pleasantries” are very poppy and idyllic, almost too good to be. How did that come together?

Connor: With “Pleasantries”, at least I wanted to make something that I could show to my parents and grandparents, as well as my most alternative friends, and they would all enjoy listening to it. Like Oasis’ “Wonderwall”.

I saw that your social media bios say “loud quiet happy sad”. Which of those do you personally identify most with?

Alex: I’m quiet sad.

Connor: I feel like the whole of that is one thing in a way, because in the space of three minutes you can be loud, quiet, happy and sad, or all at one time.

Alex: “Pleasantries” is quite manic, in the sense of loud and quiet, but lyrically, it also goes from one extreme to the other in terms of emotion. So I think “loud quiet happy sad” would be the best way to describe the album, because most of the songs sound happy, but lyrically, they’re pretty miserable.

Connor: Yeah, even our happiest-sounding songs have some dark lyrical content. I couldn’t identify as one of those things…

…because life is a permanent rollercoaster?

Connor: Exactly. And that’s what “Pleasantries” is about; that it’s okay to be that way. You know, when someone describes a person and says “oh, that guy is always really smiley and happy”; I don’t think anyone is always really happy. So I think those four words sum up the album in its entirety.

Leaving aside your own album, which release are you most looking forward to this year (or were, if it’s already out)?

Connor: Manchester Orchestra have been in the studio for quite a while, I think they’re releasing an album this year and I’m really excited for that.

Alex: Our friends in a band called Wallflower, who we just toured with in the UK, are releasing a new EP. We’ve already heard it and it’s great, but I can’t wait to see how people receive it.

To wrap things up: What decade do you wish you were born in?

Alex: I wish I was born in the sixties.

Connor: I wish I was born in the fifties. My dad was born in 1950 and he told me a lot about growing up at that time; it must’ve been amazing to live through humans landing on the moon, and everything that happened around the Vietnam War and the Cold War era. I’m obviously not interested in the war side of it, but the hippie movement that came out of it, and the explosion of music in the fifties, sixties, seventies… I know I listed three decades there, but that’s why I would have liked to be born in the fifties, so that I could have lived through those decades.

Alex: I also think I would’ve liked to have been born earlier in the eighties, so I could have seen Oasis and Nirvana play.

Connor: What would you choose? Would you go back to, like, dinosaurs?

Alex: What use would that be? You couldn’t even post it on Instagram, so you would be like “I’ve just seen a dinosaur, but I can’t prove it!”

No, I would probably choose the seventies or eighties, too.

Alex: I was actually born in the eighties, I lived about six months in the eighties, so I can’t really claim to be an eighties’ kid. I would have been, like, five or six years old, when Nirvana were at their prime.


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