no use for a name
Interview: Elway
Hi there! Firstly, can I have you introduce yourself and tell us your role in the band?
My name’s Tim, and I play guitar and sing in Elway.
You guys have recently released your new full length, Leavetaking on June 25th. How do you think it differs from your previous material?
I can’t speak as to whether or not the new record will be received as more ‘mature’ or ‘focused’ than our previous efforts. I can say, however, that there is almost nothing I would change about these songs if I could go back and rewrite them, and I don’t know if I can say that about the older stuff. The record is a little more earnest heartache than drunken-punk-party-anthem-USA. It’s still got the same skeleton that Delusions had in that it’s mostly a mid-tempo punk record with moments of EpiFat skate punk and a pinch of depressing indie.
Do you have any personal favorite tracks off the new record? Can you tell us about them?
My favorite song on the record is called “One Flew West,” which is kinda the weirdest song on there. There are a lot of weird riffs and tones in that song that I think are really cool, and it goes from carrying a kind of 90s emo strut to full blown punk song to balladry without sounding overwrought somehow.
What would you say were your biggest inspirations when writing this album?
I was committed to writing songs that would read as interestingly as they would sound. I was constantly reading Sylvia Plath, Ezra Pound, and Jack London over the course of writing the songs, so there are a lot of references that take pieces of their work which I think all point toward a common theme.
Can you tell us about your songwriting process as a band?
Usually I write the lyrics and the vague structure of the song on an acoustic guitar and we workshop it in rehearsal until we’ve added all the tinsel and leads and drum fills and backup vocals. After we’ve had a song sitting around long enough that we start playing it live, we eventually figure out a few more things that we could change before we record it, so we go back to workshopping it.
What bands are your biggest musical influences growing up?
As kids, my parents raised me and my siblings on Bob Dylan. Then I was the hugest Bad Religion fan, well I still am, but I used to be like their ***biggest*** fan. I know all the words to “The Positive Aspect of Negative Thinking,” and any true BR fan knows that that shit is pretty devotional. I used to always listen to NOFX, Pulley, No Use For A Name, Lagwagon etc… I started to get a little older and discovered stuff like The Lawrence Arms, Alkaline Trio and Hot Water Music.
What’s your opinion on the modern punk scene and how do you think your band fits into it?
I love how the genre continually stretches itself out and becomes less and less orthodox. It’s never been easier to get your music out there via the internet and tour. This has flooded the scene with tons of shit bands, but also there’s a lot more palpable buzz about the scene than there was when I first started playing in bands, y’know… pre-Myspace or whatever. If you have a ton of bands just basically bouncing ideas for how to expand the genre off one another eventually you’re going to get awesome new bands. Where do we fit in all of this? Well, we keep it pretty simple, but I love trying new little things in our songs that don’t sound like they’d necessarily fit on an old Punk O’ Rama comp. A friend of mine said he thought that the punk rock zeitgeist was “growing up,” and I have to confess that I’m fine with that.
Tell us about life on tour. Do you have a favorite tour story you’d like to share?
One time on our first tour ever, we found about 50 pies still in their boxes in a Trader Joe’s trash compacter in Richmond, Virginia. We ate as much pie as we could possibly handle for days before ultimately selling them at the merch table. I believe Garrett’s first impulse upon realizing how many delicious pies we had was to smash one directly into the side of my head, mixing strawberry and rhubarb chunks in with my ahem… immaculately bleached hair. I don’t know if that’s my favorite tour story, but that’s the one that involved eating the most pie. I love being out on the road more than anything in the world, and we always manage to have a blast on tour. We’re a few days away from spending the next 4 months on the road and I am pumped.
Pick up their new album off of iTunes and catch them on tour this summer! Check out their tour dates here and for more information, try their Facebook page.
Review: Sister City – Carbon Footprint
Sister City – Carbon Footprint
Released: June 14, 2011
Label: Unsigned
Purchase: Bandcamp
Having never heard of Sister City, formed only in 2007, I had no idea what to expect upon downloading their new album Carbon Footprint. I saw the genre “indie punk” thrown around quite a bit, but such a description is too vague to actually say much.
Opener “Hit Too Hard” finally put a sound to the name. Even though it didn’t quite answer the question of what “indie punk” means, it did provide a ballpark sound to work with. Initially, Sister City sounds like an opening band, reminiscent of The Loved Ones or The Measure, taking cues from bigger bands, but still lacking the chops to be headliners themselves. There is a familiar, almost generic feel to the music, but under the surface, there is a passion and effort driving the band, which is demonstrated all throughout the album.
The passion is most easily heard through frontman Adam Linder’s lyrics. Like early Rise Against, he’s usually making a point about the state of the human condition, but instead of actually calling for action like Tim McIlrath, he limits himself to biting observations with a cynicism very much in the vein of Say Anything’s Max Bemis. “The things I want are simple things, like love and trust and sanity” Linder notes on “IMPERATIVE.” Closer “How Much” brings his unease to a climax, “For a couplet I sold what was left of my integrity and I don’t have any goals / but I do have an apartment in a city full of people, and a subtle, sinking feeling we’re all equals.”
Lines like these permeate every song, but unfortunately, few of them actually stick, largely because there’s a distance to them, an apathy that doesn’t inspire the listener to do something about it. Linder’s vocals don’t help much either. They’re neither bad nor particularly good – they just tend to add to the generic overall sound.
While the music in general sounds largely familiar, Sister City does distinguish itself from the pack to some extent with their poignant use of rests. They immediately set to this trend in the stop-start “Hit Too Hard” and continue through with such usages as the pre-chorus holds of “Some Prefer Nettles,” the one beat rests on the repeated chorus of “IMPERATIVE.” The rests are very calculated to add impact to the lyrics, and nearly always work well. It’s just a small touch, but it does make their music more distinct.
There is a certain level of maturity in their musicianship as well. Many of their songs have different phases to them- they don’t usually end up in the same musical place where they were at the beginning, but they’re still within the general sound, so the song isn’t too disjointed. For the most part, this too works fairly consistently, such as with the double-time outro topping off the already engaging “Ellis Island Blues.” The biggest offender with this patchwork style is “Eff That” which suffers from too much schizophrenia. The smooth verses don’t blend well with the No Use For A Name-sounding chorus, and the bridge is much too forced, making it one of the only songs that would be considered weak overall.
While much of their music is familiar, familiarity isn’t always a negative thing either. Sister City wear their influences on their sleeves, and fans of the general scene won’t be disappointed. Much of their music sounds like a lighter version of Against Me!, and they wear this influence proudly, even naming a song “Reinventing Adm Linder.” Ironically, this song is eerily similar to “Hey There Delilah.” Plain White T’s comparison notwithstanding, it’s actually one of the album’s lyrically strongest and catchiest songs overall.
Swaying away from Against Me!, Sister City turn to NOFX with “IMPERATIVE,” driven by a bouncing bass that sounds like it’s straight out of “Timmy the Turtle.” Pulling out all of the stops, “How Much” channelsManchester Orchestra with a slow buildup to a climactic finale. These songs are generally good for what they’re worth, but at the same time, they feel like the diet version of some of your favorite bands.
Overall, even after a few spins, I still find that Sister City is a very difficult band to describe. After some thought, I have concluded that one of the most apt metaphors is that Sister City is a cloud. The band can’t be clearly defined or put into one particular musical box. Their influences are numerous, yet they still have a single cohesive, recognizable sound. Finally, there is definitely substance to their music and lyrics, but when you reach out to touch it, you may not end up feeling much in the end.
7.4
Standout tracks: “Ellis Island Blues” and “Reinventing Adm Linder”
Connect