Wednesday, October 1, 2014

Interview: Jami Morgan of Code Orange


How was Code Orange formed and how do you feel about the musical progression of the band as a whole?
Code Orange Kids was formed when we were 14 or 15. We all went to the same high school and were all getting into punk and hardcore and decided to start a band. I feel like the record we are releasing in a few weeks "I Am King" is where i want us to be as a band and is the only thing we have released thus far that completely represents who and what we are and what we wanna be.

Out of the members in Code Orange, who have you been playing music with the longest?
I met Reba when i was 12 so technically her. We have all been playing together for a very long time though. Almost as long as I can remember. My band mates are my best friends and always have been. 

A relatively unique aspect about Code Orange is that you sing while drumming, was it easy for you to pick up the double duty or were there some speed bumps when y’all started playing music together?
It kind of just came out of the fact that I was the only one initially unafraid to do vocals and that I was the one that wrote the lyrics. As everyone got more comfortable with it and started jumping in it was just kind of our mold. There have definitely been bumps along the way but it has always felt natural to me in some capacity. I'm not a great drummer or a great singer so i just put what i got into both and it is what it is.


On September 2nd, you released you second full length under the name “I Am King”. How was the writing/recording process of this album and how was working with Kurt at GodCity again?
The writing process was definitely very different. we spent a lot more time and ditched a lot of songs by the time we got to the final 11. we did two sets of demos - one with Taylor Young in California at The Pit and one at home with our friend Dave Rosenstraus of Hounds of Hate before deciding on what we wanted to do. Basically the second the last record was done we started thinking about this one and the direction we wanted to go with it. The first LP was meant to be a proper summation of what had come before it and this was always intended to be a whole new ball game. Kurt was great to work with. We knew what we wanted and he facilitated that. He respected what we wanted to do and helped us do it to the best of our abilities sonically. He knew we didn't want a producer or someone to help creatively, but more someone to help us get where we were trying to go with sounds, tones and sonic themes.

It seems like as a band gains success, more and more people start to criticize and hate on them. Do you ever find yourself focusing on negative comments people throw out about your band or are you relatively good at blocking negativity out?
People are always going to talk. It is what they do. It has definitely bothered me in the past, especially when i see someone saying something on the internet that I've met in person and they had nothing to say about it then. The internet mentality of saying what you want and not expecting confrontation kind of makes me sick but its something I'm learning to ignore. The thing about it is there are a million different perspectives and a million different meta scenes within one that feel differently about different bands at different times depending on what there friends think. It really only strikes me when it’s something that I'm insecure about, and there is not a lot on this record that i am insecure about. I greatly appreciate and respect the people who have stuck through it with us when there internet friends decided it was or wasn't cool or whatever. i remember the people who have stuck through it. That being said I'm super siked that there are people who simply didn't like the other records that are checking this one out and digging it. That means a lot to me. I have a handful of people whose opinions I truly value and internalize, but we are always going to do exactly what it is we want to do no matter what anyone is saying.


You guys have been using the phrase “Thinners of the Herd” for a while now, could you go into detail on what that means?
Thinners of the herd to us is just a way of distinguishing ourselves from the pack, and basically saying what i said above, we are always going to do exactly what is we want to do whether its calling our band whatever we want to call it at a certain time or making the videos and record that we want to make. it about weeding out people from your life that try to hold you back based on what they think about you or what they think about themselves. we don't want any limits on what it is we are doing creatively or personally an d our record is generally about getting rid of the things inside of yourself and the people around you that try to stifle you from doing what it is you want to do. Becoming king of your own mind and own world and taking hold of it. I've spent a lot of time in my life battling my own perception of myself and others perceptions of me and this record is about the end of that. I like to think that people who like our band and really see it for what it is are Thinners of the Herd. At least in our book.

What could we normally find you guys doing while not on the road?
Joe works construction. Eric works for a bag piping school. Reba work(ed) for a grocery store. i work loading equipment for bands at bigger shows. We are all in the process of getting fired and/or will be getting fired soon. We watch a lot of wrestling and hang out with our group of friends.

It’s relatively common knowledge that most of your band are professional wrestling fans, have you ever routed a tour around being able to make live events?
nah but me and Joe have driven countless hours directly before and after tours to go to them. 16 hours to RAW 1000 after Europe. 30 hour drives to multiple Wrestlemanias. We live it brother.

If you could create a theme for any active WWE professional wrestler, who would it be and why?
Probably Seth Rollins and or Dean Ambrose. I think I am king would work great for Rollins and my world would work great for Ambrose. Still hoping someone over there hears one of our songs at some point. When that happens my lifetime goals will all be fulfilled.

What can we expect from Code Orange late 2014 and beyond? Any new release plans in the works?
Grinding the fuck out of this record as its what we have worked for for the past 2 years and it is fully what we believe in. I AM KING is all that is on the horizon.

Thank you for taking the time to do this, if you have any shout out, comments, or any questions please do so below.
Thanks to you Wayne for consistently supporting us from the beginning and not changing with the tides around you like many others. It means a lot.
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Catch Code Orange in your neck of the woods 2014 and beyond. Stay up to date with Code Orange happenings directly at facebook.com/codeorangekids.

Pick up a copy of "I Am King" directly from Deathwish Inc.
deathwishinc.com

Tuesday, September 30, 2014

Interview: Angela Owens (Photographer)

First off, thank you for taking the time out of your schedule to do this interview with us. Could you introduce yourself/your choice of art to our readers?
I'm Angela Owens. I'm a photographer in Boston, MA.

How long have you been shooting photography and do you feel you have mastered your field yet?
I'm not sure when exactly I got into photography. I've been playing around with cameras since I was a kid. I started shooting shows when I was a teenager. It wasn't until I was halfway through college that I realized maybe I don't suck at it, and decided to get into photography seriously. I started taking extra classes at a different college that offered documentary photography, and then I got my Masters in photojournalism. But I don't think I've mastered anything. I'm an idiot. I fuck up all the time. Every time I look at one of my photos I see a thousand ways I could have shot it better.


What is your current “go to” set up for shooting live shows? With your set up do you run into challenges when it comes to shooting in a live setting (lighting/stage setup/crowd/etc etc)?
I don't have one go-to setup, it changes depending on the venue. For 90% of my shots at TIHC I used an 85mm prime and no flash. But when I'm in a basement I'm going to use flash and a wide angle. Gotta adapt to the surroundings. I wouldn't say I run into any challenges, exactly. There are always different factors to consider, the biggest thing is where can I position myself to get a good photo without getting in the way. Its such a bummer to see photographers who don't follow that etiquette. Documenting the show should never ever ever ever interrupt the show. But finding a good spot on the side is never too much of a challenge.

Your go to shooting style based around black and white photography, what do you feel is gained/lost with doing solely B&W shooting? Are you using stock B&W settings through your camera or do you use programs such as Adobe Lightroom to have more control over your final product?
There are some photos that definitely work best in color, but I just prefer black and white. Its just a matter of personal style. I like to play around with light and shadows, and I think those details are best seen in black and white.

I shoot in color and convert to black and white later. Shooting B&W through your camera really limits your options. And every once in a while someone *needs* a color photo, and I'm not going to disappoint them.


I see a lot of people complain about “stage potatoes” at live shows, do you feel like it hurts your shooting focus when there’s a million random people on the stage with you?
I don't encounter that too much. Most venues I go to in Boston don't have stages, bands usually play on the floor. The Democracy Center, the Elks, the Boiler Room. No stages. Its great. When there's no stage, there's no stage potatoes. No stage mosh. It's a wonderful world we live in.

But to answer your question- if people get in my way, it's annoying, but who cares. I want everyone to have fun, and if I miss a few shots it isn't the end of the world. By all means, stage dive your heart out. But if you don't serve a purpose, don't stand on the stage for the whole set. The only time I get really cranky about it is when tall dudes stand in front of me so I can't see. I'm five foot nothing, I can't shoot over them. And then it's awkward afterwards when a band asks me for photos and I have to tell them that I couldn't see them because their entourage was in my way the whole night. That has only happened a couple times though. Usually everyone is cool.


You had the opportunity to shoot This Is Hardcore and Damaged City Fest this past year, how were those experiences?
This was my third year shooting This is Hardcore. Joe does such a great job bringing everything together and it always feels like a reunion with friends that I don't get to see the rest of the year. It's kind of exhausting to shoot 60 bands in a weekend, but it is totally worth it. Plus there's pizza.
This was my first time shooting Damaged City. As far as fests go, it's probably the most in line with my taste in music. And Damaged City was the perfect length, just enough bands that I didn't get burnt out. No pizza, but you can't win them all. (Or can you? Free 8x10 print to anyone who brings me a Duccini's vegan pizza to the fest next year)


If you had to showcase your ENTIRE catalog of photos with one live photo, what photo would you choose and why?
Ah shit. I have no idea how to answer this. Any photo of Mindset, GIVE, or No Tolerance.

Who are your influences when it comes to photography? Do you believe that like their work helps you strive to become a better photographer?
Matt Miller has been my biggest influence since I started shooting shows. I think he mostly does weddings these days, but check out the hardcore shows in his archive. His work is next level. And Alvin Carrillo is my favorite current photographer. Seeing his photos definitely pushes me to be better. He's got an incredibly unique style and vision, I admire his work a lot. And obviously Glen Friedman produced some of the most important documentary photographs of early hardcore.

Now for the most important question of this interview, you have ONE choice of pizza for the remainder of your life. What pizza place and what toppings from said location would you choose for your lifelong pizza?
That's too easy. The vegan buffalo chicken at Nice Slice in Providence. But only if I get to choose who makes it. It's hit or miss depending on who's working. But when it's a hit, it is a fucking hit. One time when I was on tour in Florida of all places I had the best vegan pizza of my life, but I can't remember the restaurant or what town we were in. I will always remember that pizza though. It's the one that got away.


Thank you again for doing this for us, if you have any final comments, shout outs, or words to the readers, please include them below.
Thanks Wayne! It was a pleasure.

Check out Angela's work directly at angelaxowens.com
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Interview was slated to be in the next issue of our physical zine, but with that project getting halted for the time being I figured it would be cool to share the interview with all of you. Expect another interview or two to hit the site very soon.

Monday, September 29, 2014

Sea Of Shit- West Coast Tour 2014 CS

Year: 2014
Quality: 320kbps
Tracklist:
1. Societal Woes
2. Disconnected Belief System
3. Bridge Burner
4. Merging

Sunday, September 28, 2014

Mossbreaker- Separation Anxiety b​/​w Two Way Mirror

Year: 2013
Quality: VBR
Tracklist:
1. Separation Anxiety
2. Two Way Mirror
3. Sifter

Got the chance to see Mossbreaker last year and was really impressed. EP features three killer tracks that fans of Hum, Quicksand, and Failure will thoroughly enjoy.

Asid Bateri- Demo

Year: 2014
Quality: 320kbps
Tracklist:
1. Intro
2. Breathless
3. Love Crimes
4. Silent Spring
5. The Tension
Killer demo from Asid Bateri, features members of Loma Prieta and Captive Bolt.

Saturday, September 27, 2014

Enchant- Cycle Of Abuse

Year: 2014
Quality: 320kbps
Tracklist:
1. Cycle Of Abuse
2. Ticking Hand
3. Consumed

Another killer Crossover band based out of Texas, what else is new?