The fourth album can be a bit of a curious point on a band’s timeline. The dreaded “sophomore slump” has long been in the rearview, and generally by the time the fourth album roles around, a band is at or around the decade mark in their career. It can be a time of transition; a […]
The fourth album can be a bit of a curious point on a band’s timeline. The dreaded “sophomore slump” has long been in the rearview, and generally by the time the fourth album roles around, a band is at or around the decade mark in their career. It can be a time of transition; a time to build off some old influences and also to incorporate new feelings and directions out of a desire to keep from getting stale or repetitive. Sometimes, the results can be ground-breaking, at least sonically if not always commercially or critically. Ignorance Is Bliss by Face To Face, for example. Darkness On The Edge Of Town. No Code. Sandinista!. Yankee Hotel Foxtrot. Life Won’t Wait. Question The Answers. ZOSO, or however that translate without the ability to add runes to the text here. So on and so forth.
And so here we find The Interrupters. The widely beloved LA-based ska punk band are back with In The Wild, due out August 5th on Hellcat Records. Recorded during the forced doldrums that were the shutdown of the last couple of years, the album finds the band (which surpassed the decade mark during said shutdown) building on the high-energy, rock-steady core that they’ve built over the course of three records and hundreds of shows, revealing a work that is their most varied, most introspective, and, subsequently, their best effort to date.
We caught up with the band’s air-tight rhythm section, sensational twin brothers Jesse (drums) and Justin (bass) Bivona to talk about the album’s recording and its personal nature. While much of the process for In The Wild was similar to the band’s previous output, there were a few marked differences that shaped the direction of what was to come. As Jesse explains the fourth album cycle, “one of our little press points about this record and relating it to the previous records is that the first album is kind of like a first date, where you just talk about surface-level things, nothing too crazy. Second album, you start to let them know a little more about you. Third album, you’re kinda getting into the nitty-gritty. Fourth album, all the baggage is out, the drama is revealed, all the secrets are out.”
The secrets are indeed out in more ways than one on In The Wild. It is by far the band’s most personal album to date, and it’s their most sonically diverse album to date, and both of those things are by design. Thinking back to the early days of the band, specifically around the recording of the band’s self-titled 2014 debut record, Jesse describes that the band was “just trying to keep it simple. We weren’t trying to reinvent anything, we were just trying to be a straight-ahead ska-punk band.” The more cohesive the band god, the more layered and textured the sound became, and the more outside influences began to creep in. While still very much an Interrupters record, In The Wild showcases sounds that include traditional reggae and rock steady and 2-tone and 80s punk rock and ‘50s doo-wop. The album closes with “Alien,” which centers around Aimee’s soaring, heartfelt vocals and is, as Jesse points out, “the first Interrupters song with no guitar on it!”
The seeds of In The Wild were initially sown in the early days of the pandemic shut down two years ago. The very early days. In fact, quite literally, the first day. The band had taken a few weeks off after wrapping a lengthy touring cycle for their 2017 album Fight The Good Fight – an album that continued the band’s launch into a higher stratosphere based in part on the crossover success of the single “She’s Kerosene” – in February, and was planning to return to Tim Armstrong’s studio in early March to begin work on album four. That plan was foiled just as it was beginning. “Day one of us going into the studio,” explains bass player Justin Bivona, “was that day where the NBA was canceling, and Tom Hanks had Covid…” After a few ‘wait and see’ days, recording plans – and, frankly, most of real life – got put on pause indefinitely, and the band retreated to what they affectionately refer to as The Compound; Justin and Jesse live in one house while the twins’ bandmates and, more importantly, older brother and sister-in-law Kevin and Aimee, live in the house next door. The two houses share a driveway and, more importantly, a garage, the latter of which would come in handy in a pandemic shutdown.
After some time spent doing what the rest of us did – binge-watching TV shows and movies, going for walks, and reflecting on their lives-to-date. As Justin tells it, that process “Aimee got to do a lot of looking back on her past and realized there was a lot of stuff she hadn’t written songs about.” And so even though the band had plenty of material they were going to work on in the studio at the beginning of 2020, writing eventually continued.
So, too, did recording, though the band didn’t have to go far. “At some point during (quarantine),” explains Justin, “Kevin was like “we need to do this record at our house, in our garage.” It’s a tiny 10×20 room that we would practice in, but it wasn’t treated, there wasn’t any studio equipment. So we spent maybe a month building things. Me and Jesse with power tools building racks to put gear in and tabletops and stuff. Pretty much “tiny housing” the studio to make every part of it work.”
This created the freedom to work together at their own pace. There’s no need to reserve studio time or book an engineer when you can do it all, effectively, in your collective backyard. That moved Kevin, the elder statesman of the Bivona brothers, officially into the producer’s seat. Tim Armstrong, who both oversees Hellcat Records and executive produced the first three Interrupters records, “told (Kevin) to just grab the reins and take off” says Justin, with Jesse quick to point out that their big brother has “always kinda been the shadow producer of everything in a sense.”
And while it may seem daunting to have your bandmate – and older brother, steering the ship, the timeline and the setting and their relationship made for a smooth, collaborative effort. “If we’re working on something and it’s not working,” explains Jesse, “all four of us can be like ‘well, what if we try this, or what if we try this,’…there are no bad ideas until you try (something and realize it’s bad.” “It was just us as a cohesive band, the four of us, working out songs and writing songs, and it really informed the process,” adds Justin. “It was the best thing we’ve ever done.”
The more that writing and recording continued, the more that the direction of the album revealed itself. “Aimee realized that the record was pretty much her life story,” says Jesse, adding “so the songs that didn’t fit with that theme we pushed aside and focused on the ones that told her story the way she wanted to tell it.” Because the lyrics bare so much of Aimee’s past, the task of recording vocals involved being in the right headspace to tackle some of the memories that were evoked. “Doing on the property,” reveals Justin, “it allowed Aimee the freedom to record vocals whenever she felt emotionally connected enough to a song” to power through it, a freedom that proved vital as it is apparent on first listen that Aimee dug deep lyrically, reflecting on some of the messier parts other upbringing and past relationships and grief and loss and trauma and mental health struggles that she has worked on over the years.
The added time and convenience of the recording process allowed the band to work through multiple versions of songs, in order to make sure that the emotion of the music matched the emotion of the lyrics. “There are a couple songs on this record where they were recorded one way and pretty much done,” explains Justin, “but then it wasn’t just fitting in with the rest of it when we would get back there. I think specifically “Love Never Dies” had a totally different feel, it was more of a rock/reggae Clash-y song. And it was dope, but it wasn’t fitting in with everything.” Jesse elaborates: “(Kevin) said “Jesse, play a one drop” so I played this one drop, and then he said “Justin, play this bass line” (*mimics bassline*). And then he said “okay, watch” and he just started skanking, and then he started singing this melody the way that it is now, and we played that for like four bars and just stopped. We were like “yeah, that’s it! Now we’re on to something!”
The result is one of the more straight-forward reggae songs in the Interrupters’ catalog to date. It also features a guest appearance from The Skints, the UK reggae punk band who recently wrapped a successful run opening a bunch of US shows for The Interrupters and Flogging Molly. The Skints are just one of an impressive handful of guest starts that found their collective way onto In The Wild; Tim Armstrong lends his vocal talents to a track, as per usual, but so too do Rhoda from The Bodysnatchers and Alex and Greg from third-wave ska legends Hepcat. The latter recording session occurred at Armstrong’s studio once the initial Covid waves had subsided and society started to open up again. As Jesse tells it, “it was a magical session to be a part of.” Justin explains “Greg and Alex came in and…we wanted them on the song (“Burdens”), but we didn’t really have the part. We went in with them and showed them the song and within a minute the two of them are sitting there writing the parts and figuring it out together. It was so cool to see because they’re literally our favorite ska band.”
It was yet another moment in a decade-long journey that has found the foursome feeling eternally grateful for the opportunities they’ve been presented; playing with longtime idols like Rancid and the Mighty Mighty Bosstones and Joan Jett and Green Day, playing legendary venues, getting introduced by RuPaul on the Jimmy Kimmel show (as was the case the night before we spoke). Case-in-point: the three Bivona brothers served as the backing band for The Specials during a fundraiser event in Los Angeles back in February, a mind-blowing moment that got overshadowed by the fact that a mini Operation Ivy reunion brokeout pre-set as Jesse Michaels and Tim Armstrong joined for a cover of the Op Ivy classic “Sound System,” an event that damn near broke the punk rock internet. The gravity of those situations is not lost on the band, by any stretch. “The moment that starts getting old is the moment that you’ve gotta start packing it in and figuring out what 9-to-5 (job) you want,” says Jesse.
Keep scrolling to read our full Q&A with the Bivona twins, Jesse and Justin. Pre-orders for In The Wild are still available here. And check out the full list of upcoming Interrupters tour dates, including their European run and leg 2 of the US dates with Flogging Molly, right here.
(*Editor’s note: The text below has been slightly edited and condensed for content and clarity.*)
JS: First and foremost, congratulations on another successful appearance on Kimmel!
Justin: Thank you!
JS: So this is probably then the second coolest thing you’ve done this week…
(*all laugh*)
Justin: For real though, it is good to see your face!
JS: Is that the third time now on Kimmel?
Jesse: Nope, two! Four years ago we did “She’s Kerosene.”
Justin: Almost four years ago to the day. It was like July 26th.
JS: Man, how time has flown. The Kimmel show seems like it’s a cool one to do because the audience is right there, versus some of the other late-night shows where they’re sitting back and you’re kinda playing to the cameras as much as anything. That seems like a cool one.
Jesse: Yeah, they make it seem like it’s an indoor club show,
Justin: Which is really cool.
Jesse: It’s really cool. And the whole staff and crew there is excellent. They’re very nice. We had a GOOD time yesterday.
JS: And you got to hang with RuPaul, that’s pretty cool!
Justin: He’s super nice too!
Jesse: So nice!
Justin: An old punk rocker and a big ska fan too!
JS: I had no idea!
Jesse: Yeah, he played in a punk band in like the early 80s.
Justin: He loved The Selecter and The Specials.
JS: So then he’s totally going to dig your music, especially the new album!
Justin: He gave us the best soundbite! He just said “It’s time for some ska music, bitches!”
(*all laugh*)
Jesse: We were on stage and just looked at each other like “WHOA!” (*all laugh*)
JS: Does that stuff ever get old? And I know I probably know the answer to that question, and actually I think I’ve asked Kevin and Aimee that sort of stuff before, but playing in massive crowds, playing in places like Fenway Park, playing for RuPaul on the Kimmel show…does that stuff ever get old?
Jesse: Never.
Justin: No.
JS: I feel like I knew that was the answer…
Jesse: The moment that starts getting old is the moment that you’ve gotta start packing it in and figuring out what 9-to-5 you want.
JS: When I started doing this Zoom interview thing during the early days of Covid, it was really to sort of check in with people. I was used to doing more phone interviews and then I’d type them up and write a story, but A) the website crashed so there was no publish things anymore for a while, but I liked the idea of actually chatting with people when they were in quarantine and we were in quarantine and you could see each other and stay connected. We’ve been in this weird situation for so long now that music that came out of quarantine is coming out commercially. That’s sort of the long way of getting into In The Wild, which is a really, really, really great album and I know I say that about each one that you guys put out, but the bar just keeps getting raised. So let’s talk about that process. When during lockdown did you realize “well, we’re not going to be out on the road for a while, and we’re not going to be able to go into a studio for a while, so fuck it, let’s do it ourselves”?
Jesse: Well…
Justin: Here’s the thing. We finished the Fight The Good Fight album cycle tour in February of 2020. We ended in the UK with two amazing shows in London. The plan was to finish that and go home. Kev and Aimee were going to start writing for a couple weeks, and then we were going to go into the studio in March. Day, like, one of us going into the studio to record, was that day where like the NBA is canceling and Tom Hanks has Covid.
JS: Right! That’s when we really knew the world was ending!
Justin: Yeah! So we were going to go back in the next day, but everything started getting canceled, so we put the weekend on hold and then the next week on hold, and then the month, and everything just got shelved. So we were sitting at home, and couldn’t really do what our plan was. But it was nice at the same time, because we had just kept rolling for ⅞ years. There was no break. So we finally got to sit back and wait a little bit. We did the live record to give something to the fans during the break, and with that we did the documentary, This Is My Family, and put it all together as like a cohesive concert film. Kinda while we were doing that, we got to reflect on our past and Aimee got to do a lot of looking back on her past and realized there was a lot of stuff she hadn’t written songs about. At some point in the middle of that, Kevin was like “we need to do this record at our house, in our garage.” It’s a tiny 10×20 room that we would practice in, but it wasn’t treated, there wasn’t any studio equipment. So we spent maybe a month building things. Me and Jesse with power tools building racks to put gear in and tabletops and stuff. Pretty much “tiny housing” the studio to make every part of it work. And then they had some songs and we would just get in there the four of us with Kevin producing and work out these songs. It was a fun process because there were no outside distractions, there was no one else we had to worry about, it was just us as a cohesive band, the four of us, working out songs, writing songs, and it kind of really informed the process. It was the best thing we’ve ever done.
JS: So there was stuff written to be recorded back in March of 2020 when you first got off the road?
Jesse: Actually the one day that we did spend at the studio, we were working on the instrumental for “As We Live.” That was the only thing we recorded at Tim’s studio before everything got shut down.
Justin: I think they had “Alien” kind of on the docket, and “The Hard Way” was in there also.
Jesse: Yeah, they had done a few weeks of writing so there was a batch of songs. A lot of those songs got shelved because they didn’t fit the whole record idea. Once Kevin and Aimee started writing a lot, Aimee realized that the record was pretty much her life story. So the songs that didn’t fit with that theme we pushed aside and focused on the ones that told her story the way she wanted to tell it. We’re stoked on how the whole thing came out.
JS: How far into that writing process did the real direction of the album start to take shape, or at least when did she tell you that that was the direction that the album was going to go? And did that involve sit-down conversations…like, I know you’ve been family for a long time but that maybe there’s some shit she was going to sing about that’s a little…
Jesse: No, I think it happened kind of naturally, and it wasn’t until we had like
Both: Eighteen songs
Jesse: …that we were working on that it was like, okay, this batch is all very cohesive. I feel like we’re saying that word a lot? (*all laugh*)
Justin: It was a theme, you know?
Jesse: Yeah, and these other ones, they’re good, but they distract from the message we’re trying to send here and the themes we’re trying to talk about.
Justin: Yeah, once it was like, there’s all these songs (*gestures*) it was easy to look at the board and say, “well, these fourteen (go together).”
Jesse: And there was even a time where we weren’t completely…where we didn’t have like the last three figured out, and we dug up an old one, and once Aimee looked at it, it was like “actually, if I just rewrite these verses, this could fit.” That was “Worst For Me,” which was a sleeper favorite of mine. That song rips.
JS: That song is great, yeah!
Jesse: But it was on the back burner for months! It was just like, we recorded it and then we just forgot about it.
Justin: That was the other great thing about the process. We had so much time just sitting at home that they would finish a song and live with it for six months, then come back to it and say “oh, this song needs a bridge.” Then they would just write a bridge and it would bring the whole thing together. We’ve never really had the opportunity to sit and live with something and then come back to it and fix it. Usually in the studio, it’s like record it, it’s done…
Jesse: Go on tour, it’ll come out when you’re on tour. The most time we’ve ever had off in this band was maybe two months, right before Fight The Good Fight came out. And that wasn’t really time off, that was us preparing for the album cycle and the release and all that. So to be forced to sit on our hands during the pandemic, it helped a lot.
JS: What did you do otherwise to keep creative, musically or otherwise, to keep from getting into those doldrums when it seemed like the world was never going to open up and that sort of thing?
Jesse: You know, that’s a good question. We did what everybody did…binge-watched a lot of TV…
Justin: We did get to a point after the first few months where it was like, “okay, we’ve gotta go outside.”
JS: Touch grass.
Both: Yeah!
Justin: Going to the beach, or going on hikes.
Jesse: Going on bike rides.
Justin: And we had a small quarantine bubble of friends that we trusted to come over, or we’d go over there. But other than that, it was a lot of TV…
Jesse: A lot of movies.
JS: Were you still playing music, even if it wasn’t Interrupters stuff, or did you just like put it away?
Jesse: It was always there. Our back room is always set up so we could always go back there and jam, but there was definitely a time…
Justin: There was definitely a three-month period where I didn’t touch a bass. (*all laugh*)
Jesse: Yeah, I was the same with drums.
JS: Is that the longest you’ve ever gone, since you started playing?
Both: Yeah!
Justin: For sure.
Jesse: Definitely.
JS: Was it interesting working with…I know you’ve worked with Tim (Armstrong) executive producing before but this is the first one where it was listed that Kevin was the producer of (the album). Does that change the dynamic when not only one of the four of you is producing it, but he’s also your brother and your band member? Does that impact the dynamic in the studio or have you been doing it with each other for so long now that you just know how it works?
Justin: Yeah, exactly. We’ve been doing this our whole life. We’ve always looked to Kevin for answers when we have questions about what we’re doing.
Jesse: He’s always kinda been the kind of shadow producer of everything, in a sense.
Justin: Yeah, so Tim gave him full rein…told him to just grab the reins and take off with it.
Jesse: The other thing about the way we work is we try everyone’s ideas, so we could be in the studio and it wouldn’t be like him saying “no, this is how it’s going to be, we have to do it this way.” If we’re working on something and it’s not working, all four of us can be like “well, what if we try this, or what if we try this.” And he’ll say “okay, let’s try it.” There’s no bad ideas until you try it and realize it’s bad, you know? It was very good. And we have such a great relationship and we’re very good at communicating, so there wasn’t any headbutting. It was very fun and very easy.
Justin: And again, doing it on the property, it allowed Aimee the freedom to record vocals whenever she felt emotionally connected enough to a song to sing the vocals.
JS: Especially on an album like this, that’s crucial.
Justin: Yeah! When you have studio time, you know you’ve got to be in there at 5pm and be there til 11pm.
Jesse: We’ve gotta bang out all these songs
Justin: And you’ve got to record these (specific things). That’s almost like a 9 to 5. This way, it was like, if we went back there and she was like “ah I don’t want to sing that right now, let me sing this one.” And also, if she got her second wind at 2am, she could just hop back there and record.
JS: Do you guys live close enough where it’s like “hey, it’s 2am but we’ve got an idea…”
Both: Yeah!
Justin: We call it The Compound. In California technical terms, it’s a multi-family housing property, there’s one driveway, there’s two houses and a garage that we share, and a backyard. They live in the front house and we live here, so we’re right next to each other.
JS: It’s like being on tour while you’re at home!
Justin: I know, but with that being said, when we come home from tour sometimes, we don’t see each other for a whole week. (*all laugh*)
JS: Obviously it’s still early because this album’s not even out yet, but does that inspire you to kinda work that way going forward, now that you know that you can make an album like that in your little garage studio?
Jesse: Yeah I think so.
Justin: I think so, I mean…
Jesse: We haven’t really started thinking about the next one yet, but it is easy to just naturally fall into that. If we have to do a song for something, we can just hop back there and do it. So when we have something (to work on), it’s like “when do you want to work on that?” “I don’t know, tomorrow?” So we just hop back there and do it.
JS: How did the writing process work? Were there times when all four of you were writing together, or do Kevin and Aimee come up with the stem of the song and then you guys work on your rhythm parts? And does that ever change the direction of a song? Like if they start writing and a song has a certain feel, do they give you the freedom to say “hey, we think there’s a different feel that might go better with this song?” Because there are a lot of different feels on this album, and we’ll talk about that in a few minutes, but…
Justin: They would definitely have…it could be anything from the core idea of the song to an entirely fledged out song already, knowing how it should feel and what it should sound like. But, there are a couple songs on this record where they were recorded one way and pretty much done, but then it wasn’t just fitting in with the rest of it when we would get back there. I think specifically “Love Never Dies” had a totally different feel, it was more of a rock/reggae Clash-y song. And it was dope, but it wasn’t fitting in with everything.
Jesse: It didn’t age well.
Justin: It didn’t age well. So when we got back there with the four of us, we said “What do we do with this?” And Kevin said “what if did it more like a roots thing?”
Jesse: Yeah, he said “Jesse, play a one drop” so I played this one drop, and then he said “Justin, play this bass line” (*mimics bassline*). And then he said “okay, watch” and he just started skanking, and then he started singing this melody the way that it is now, and we played that for like four bars and just stopped. We were like “yeah, that’s it! Now we’re on to something!”
Justin: And then we finished it and we were like “dude, we gotta get The Skints on this one.”
Jesse: We built up this track, sent it to The Skints, and they sent us back a whole bunch of stuff that we kept. They’re fantastic.
JS: I was going to ask if all the guests got recorded in studio with you too. Obviously they didn’t if The Skints recorded their own stuff. People haven’t heard the album yet but obviously, Tim’s on a song because Tim’s gonna be on a song. Rhoda from Bodysnatchers, Alex and Greg from Hepcat, obviously Billy Kottage, the fifth Interrupter. Shoutout to Billy Kottage, the pride of Dover, New Hampshire.
(*Justin adjusts camera, revealing Billy Kottage sitting on the couch in the corner!)
Both: He’s right there!
JS: That’s awesome! I don’t think we’ve ever met in person, but Billy and I are both from the State of New Hampshire, so I always think that’s awesome.
Justin: When he comes out here, he pretty much lives with us.
JS: That’s great. There aren’t many of us in New Hampshire, the scene wasn’t very big, so when someone from the Granite State is cool and does cool things, I love it. So shoutout to Billy Kottage. So yeah, did they all record with you?
Jesse: It was all different. The Skints did it on their own in England, Rhoda recorded her vocals on her own at her place back in England.
Justin: (For) Hepcat, we actually went into Tim’s studio for a day.
Jesse: Which was great!
Justin: Greg and Alex came in and it was just one of the most fun days. That’s the thing, we went in to have them record on the song not knowing…Kevin didn’t really know what to have them do. We wanted them on the song, but he didn’t really have the part or anything. But we went in with them and showed them the song, and within like a minute, the two of them are sitting there going…
Both: “ooooh oooh” (*harmonizing*)
Justin: Like writing the parts, figuring it out together, it was so cool to see because they’re literally our favorite ska band.
Jesse: It was a magical session to be a part of. They were sitting there laughing…
Justin: ..having a good time…
Jesse: …singing all the right notes. It was awesome. We did that at Tim’s studio. Tim also did his vocals at his studio. That was later in the process, where things were a little more comfortable, where we could actually travel to a studio and not worry about everything. And then also, we had a guest vocalist on “Alien.” It’s this guy named Arnold, who is a friend of Tim’s and a friend of Brett Gurewitz’s. When we were working on that song, I think it was Tim’s idea, he was like “Arnold’s voice would sound great on this,” and we were like “let’s give it a shot!” So we had Arnold come in and he sang all those background vocals, and he’s got this emotionally delicate approach to his vocals that just lifted that song to another level.
JS: That song is something else…
Both: Yeah!
Jesse: First Interrupters song with no guitar.
JS: Right! That’s actually a thing I wanted to ask about. There’s so many different directions! Obviously you’ve always played on a lot of different influences, but I feel like with this album, you go deeper into the reggae thing, into the 2-Tone thing, and then “Alien” which is unlike anything else in the Interrupters catalog. What made you take the freedom to just kinda go with that. Is that stuff that’s always kinda been in the arsenal but maybe you didn’t want to go too deep on the first few records, but now that everyone’s along for the ride it’s like, “well, let’s push that.”
Jesse: Maybe a little bit of that, but also, it is more that the songs were telling us how we should play them, so to speak. So the way that that song was written, there was never really another way to approach it. That song went through a lot of different versions – not crazy different versions but it was layered up with heavy guitars at one point…
Justin: It was kind of like The Beatles’ “Oh Darling” at one point, where it was like rocking…
Jesse: There were heavier drums on it at one point. It went through a bunch of stages.
Justin: But the emotion wasn’t there. Aimee fought really hard to bring it back to what it should be.
Jesse: What served the song better.
Justin: And that involved one day just pulling it up and being like “take the guitar off, take that off, take that off”…it got down to literally just the drum beat and the string arrangement.
Jesse: Even cutting a whole outro and just being like “no, the song should end right there.”
Justin: And then also with “My Heart,” which is also kind of a different…
Jesse: That “doo-woppy” 50s feel.
Justin: She had already had the melody and was singing it and I was like “well, it’s gonna be in 3, and it’s gonna have this rock feel.” Even if we tried to make it in 4 as a ska song or a reggae song, it just wasn’t working. So the way those songs were written informed the styles. And at this point, we’ve kind of realized that no matter what style it is, if it’s me and Jesse and Kevin playing and Aimee singing, it’s going to sound like The Interrupters. Us just believing in ourselves and pushing it forward that way really helped the process.
JS: When there’s an album I’m really excited about, I try to ignore a lot of the singles and just listen to the album all the way through because, I don’t know, I’m in my 40s and that’s the way we did it when we were kids, right? So I listened to it all the way through and I took notes and next to “My Heart” I wrote “whoa, an Interrupters doo-wop song.” It’s very much an Interrupters song still, but it’s got that sort of 50s diner, doo-wop vibe to it. Which I think is awesome, and it’s cool to see elements like feature in the mix but still be an Interrupters track.
Justin: Thank you!
Jesse: Yeah, initially that was one where we were like “let’s just play like The Ramones would play in 3.” So it was real heavy, but it didn’t serve the song well.
Justin: So dial back a little bit.
JS: I think people are going to dig that song.
Jesse: I think that’s my favorite song on the album.
Justin: Specifically behind the scenes with that song, Aimee had a service dog named Daisy for 13 years, who passed away in 2018. It was like her little girl, and it was devastating when she passed away. She wrote that song about her, and not even just the first time but the first few times I heard it, I couldn’t keep it together. I’d cry every time.
Jesse: Yeah, because when we worked it out in the studio, we just had the choruses, singing “my heart keeps beating, my heart keeps beating…” so that pretty much informed the drum beat just being a heartbeat. And then a couple weeks later when they updated the Dropbox with the verses and said “listen to this,” me and Justin were both sitting right here in our living room with our earbuds on and we’re both just like crying. Like, oh my god this is so emotional, because we all lived with Daisy, she was fantastic. She was a German shepherd/wolf, and we all still miss her a lot. That was a heavy one.
JS: Have you been able to play a lot of this stuff live yet, or are you waiting until the album is out?
Jesse: On the Flogging Molly tour we just did, we were only doing “Anything Was Better” and “In The Mirror,” and then when we dropped “Jailbird” we started doing that. The plan is to play as much of it as possible.
Justin: We tried a few of them at soundcheck on occasion.
Jesse: Yeah, we’d always screw around at soundcheck and be like “do you guys know ‘Kiss The Ground,’ let’s try that”
Justin: Or “Raised By Wolves”
Jesse: But we’re in rehearsals next week for a few days to work on stuff for the European tour, because that’s when we’ve gotta do longer sets, but the plan is to try to learn the whole record.
JS: I think people are going to dig a lot of it. I was just curious about if you’d throw a curveball song like that at people before they’ve heard the album to see what the response is. Because I feel like “In The Mirror” is one of those songs that the first time you hear it, you go “yup, that one’s a classic. That’s going to get the crowd whipped up.” Do you know when you’re writing a song like that that it’s going to be “the one.” Like “She’s Kerosene” was like that. The very first verse when I first heard it, I remember going “well, that’s gonna be a big hit.”
Jesse: When we’re working on it in the studio, I think we’re so lost in the process that we don’t give songs that sort of focus, like “that’s going to be the single, this is going to be the hit.” But there was a point when we were doing “She’s Kerosene” that we had Mr. Brett come in and he was listening to stuff and he when he heard “Kerosene,” he had his little notepad and he was just like “hit.” And we all just looked at each other like “Whoa! Really?”
Justin: We thought there was so much more work to be done with that song and when he gave it that check of approval, we were like “alright, we don’t have to do much more to it.” That was cool. But then also for this record, when there was like 18 or 20 songs, “In The Mirror” was a standout, at least for me. I was like “I think that one is really good.” Then as it dwindled down, it was like “In The Mirror” and “Raised By Wolves” as the top two. They’re different enough, one’s ska, one’s sort of heavy rock, and you’re just like these two are the shining examples of the record and what we’re trying to sound like.
Jesse: And “In The Mirror,” Kevin and Aimee wrote that song ten years ago. That was one that wasn’t written specifically for this record. But when they were doing the inventory for the record, Aimee was like “we should dig this one up, this is a great one.” I remember when we were trying to work that one out in the room as a four-piece, I feel like it was a more difficult one to get away from the demo version, because I’ve been listening to that song for ten years. There is a demo recording of it – it’s not even a demo, it’s a full fledged-out different version of it. And having that ingrained in your brain and trying to get away from it and being like “alright, how would The Interrupters do this,” that was an interesting process. There was definitely a day where I was like “that song’s not going to make the record, we have so many other songs.” (*all laugh*) Obviously, I was wrong, that song rips.
Justin: But it’s wild too, because they wrote it ten years ago. From that time, that’s when they wrote “Easy On You,” “Gave You Everything,” and then “In The Mirror” was in that batch.
Jesse: “Love Never Dies” was in that batch.
Justin: Yup, “Love Never Dies.” I think now if we’re recording, it’s like “hey what else wasfrom that time period? What else did you write then? Anything else we can dig up?” There was some gold.
JS: It’s interesting to hear that it’s from that time period. As I was driving around this morning for work, I listened to the first album and this one back-to-back, because they come out on the same day; the new one comes out on the 8th anniversary of the first one, so I thought it would be cool to listen to them back-to-back. And, I loved the first album when it came out, but it is startling how far you guys have progressed as a band in eight years.
Both: Yeah!
JS: And so to listen to them back-to-back, obviously you can kinda see how ended up here, but at the same time, you’ve progressed so far. So it’s really interesting that that song, in particular, is from that batch.
Jesse: So, one of our little press points about this record and relating it to the previous records is that the first album is kind of like a first date, where you just talk about surface-level things, nothing too crazy. Second album, you start to let them know a little more about you. Third album, you’re kinda getting into the nitty-gritty. Fourth album, all the baggage is out, the drama is revealed, all the secrets are out. That is kind of where we are with this. And talking about the recording of the first record, we were just trying to keep it simple. We weren’t trying to reinvent anything, we were just trying to be a straight-ahead ska-punk band.
Justin: We did like twenty-four instrumentals in three days. Some of them didn’t have any lyrics or anything, we just got the music done. The ones that didn’t have any lyrics done, they just wrote to the instrumentals. There was no going back to redo parts, it was just like “this is it, we’re done.”
Jesse: And keep it simple. Like, for me on drums, it was like “don’t do any crazy fills, just keep it straight, keep it steady.”
Justin: Which is wild, because some of my basslines, I play so many notes! Why did they let me do that?!? (*all laugh*)
JS: Yeah, but they work, and as somebody who wanted to be a bass player when he grew up, I like that they let you play all the notes! …. Thanks for doing this. This was fun. I talked to Kevin and Aimee for I think the first three records, so it’s nice to talk to you guys. It’s been a while!
Jesse: Yeah we’re being let off the leash a little bit. (*all laugh*)
JS: Well and that’s good, you should be. It’s fun that you guys have your own language with each other, and I know that that’s talked about in other places, like the documentary. So it’s perfect that you guys ended up as a rhythm section, and you end up doing this. Is that why you ended up as a rhythm section?
Jesse: Yeah, kinda. It kinda happened naturally. I don’t remember if we talked about it in the movie, but Kevin started out as a drummer. We had a drum set in the house because our dad was a producer and worked with his friends. So there was a drum set always in the house and Kevin gravitated toward that at an early age. But then, one day our dad came home with a guitar and a bass. So Kevin grabbed the guitar, and I was already dicking around on the drums, so then the only thing left over was the bass. So then naturally it was like “well, this is your instrument, this is your instrument…” And then we would just jam as little kids. There’s some video in that documentary but there’s a LOT more video when we were like 7 years old and Kevin is like 9 of us just trying to play like Green Day songs and Blink 182 songs
Justin: Sublime songs.
Jesse: Yeah, Sublime songs! Whatever we were hearing on the radio is what we were trying to play. The crazy thing is that we’ve come full circle and we know a lot of the people we were trying to emulate and we’re lucky enough to call them friends.
Justin: Some are like family.
Jesse: Yeah, some are like family now. It’s been a crazy, crazy life that we don’t take for granted.
Justin: They always say don’t meet your idols but...
Jesse: …we’ve never had a bad experience when we’ve met our idols.
Justin: I couldn’t tell you one person that I had looked up to that I met and they ruined it for me. Everyone’s been amazing.
JS: You know what, I’ve got to say almost the same thing. The amount of people that I’ve gotten to know through doing this for…well, The Interrupters started in 2011 and I started with Dying Scene in 2011. You’re one of the bands that came out right when I was getting started with this whole thing so it’s been a fun sort of parallel, but there’s only a small, small handful of people where you go “wow, that guy’s kind of a dick.” Everybody else has been super cool and super rad and supportive of each other. Especially those people that we grew up listening to in the late 80s and the 90s. It’s a pretty good, supportive group.
Justin: It is, it is. Even when we just started out, to tour with Rancid was amazing, but then to go on and get Rhoda from The Bodysnatchers, we get Horace and Lynval and Terry from The Specials love us. It’s just insane. To have that mutual respect and to get it back is just…yeah…it’s mind-blowing.
Jesse: We did a charity show back in February where we were backing The Specials. I was the drummer of The Specials for a night. We did the whole set, like twelve songs. Justin played piano, Kev played guitar.
Justin: You saw that thing where we played with Tim and Jesse Michaels and did the Op Ivy song?
JS: Yeah, yeah. That was amazing.
Justin: That was the same event. That one song with Jesse was amazing but it overshadowed the fact that we played in The Specials! (*all laugh*)
Jesse: It was just mind-blowing.
JS: Yes! Everyone kinda lost it with the Jesse thing but yeah, that’s awesome. Just awesome.
Jesse: And just being able to sit in a room for a week with Terry and Horace; Lynval got sick so he couldn’t come out, but just to sit there and run the songs with them was mind-blowing.
JS: I’m glad this stuff keeps happening to you, because you certainly deserve it.
Last May, at Nasty Cut Fest 2023, a band backed out. The band that ended up replacing the canceled band was a new band called USERS. They had only been playing together since January and hadn’t released anything. But we took a chance and gave them a slot at Nasty Cut Fest 2023. That might […]
Last May, at Nasty Cut Fest 2023, a band backed out. The band that ended up replacing the canceled band was a new band called USERS. They had only been playing together since January and hadn’t released anything. But we took a chance and gave them a slot at Nasty Cut Fest 2023. That might have been one of the best things we did. Since I saw them play at Nasty Cut Fest 2023, I have had the pleasure of following them and getting to know each and every member of USERS. I’ll spare you the sappiness because I absolutely adore them and have the pleasure of interviewing for Dying Scene. It is my way of giving back to them for everything they do and continue to do for the Danish punk scene. So, friends, foes, and everything in between let us introduce you to USERS.
Photo credit: Karina Rae Selvig
Introduce yourselves. Who are Users? Where are you from?
Sean: My name is Sean, but I feel that introducing myself and explaining who I am today will not necessarily reflect who I am tomorrow. It most likely will be similar, but not it’s not always the case. But a short introduction could be that I shout and write the lyrics in the band USERS. I grew up with an English dad and a Danish mum in a suburb outside Copenhagen. A working-class dad and a mum from academia itself. USERS are my heart and soul; it’s the creative outlet and the non-blood family I’ve always dreamed of. I grew up with a lot of English music in my household and take pride in growing up with punk music playing loudly in the living room. At the same time, my old man would do well basically anything.
Sune: My name is Sune, and I play bass. I’m 23 years old and originally from Esbjerg. I met Oskar and Esbjørn right before lockdown at a music folk high school. We didn’t play any music together there at the time or even become close friends, but we became acquainted. Then, last December, I was talking with Oskar at a party, and he told me he was starting a punk band with Esbjørn and a guy called Sean, and he asked if I wanted to join and play bass. I instantly said yes, even though the guitar is my main instrument.
Esbjørn: My name is Esbjørn. I play guitar in the band. Until just a year ago, I thought I wanted to be a jazz musician. Then I went to see Idles at Roskilde Festival, only knowing one of their songs (Beachland Ballroom). I was completely blown away. From that day on, I had no question: I wanted to do what they did at Roskilde. A few weeks later, I met our lead singer, Sean; he came to see a concert I was playing with one of my friends’ singer/songwriter project. The first thing he ever said to me was, “We need to form a punk band. That energy and attitude need to be in a punk band, not a singer/songwriter”. I remember I was stoked and thinking I would never hear from him again, and I didn’t until we met randomly at a nightclub in Copenhagen half a year later. He said, “You still wanna do that punk band?”. We met for our first rehearsal just a week later, and the rest is history. For me, it was love at first sight. We just clicked musically and personally as well. I grew up in a small ecovillage in Jutland. I’ve been a victim of a lot of bullying throughout my life. Since the age of 17, I’ve dropped out of high school, been in and out of kontanthjælp, dealing with depression, and been struggling to find my place in this world filled with suffering. This band is almost the first time I really feel at home. For that, I’m thankful.
Oskar: I’m Oskar, I’m a drummer, and I’m a USER. I come from the northern part of Germany, where I have been trying to start bands all my pre-Denmark life. It’s a little village, so if you want to play any kind of music and are lucky, you find a pianist who knows one or two chords …but that doesn’t do it in the long run. Eventually, I moved to Denmark at 20, where I was lucky to meet the now lead-screaming Sean, with whom I went to school for a semester. The following semester, I was fortunate to meet Esbjørn and Sune too. After moving to Copenhagen, I started working as a Carpenter; not the best decision of my life, but I somehow kept stuck to it for some years because it still gives a steady income, which is super important if you want to live in the capital of Denmark where everything is absurdly overpriced. Sorry for the long sentence…
I have been playing many instruments through the years. Still, I have always wanted to play drums in a more aggressive sound setting, and when Sean and Esbjørn met at a party and started talking about playing punk, I was all ears. My connection to the post-punk genre isn’t the biggest, but since starting the project, my eyes and ears have been opened to the sound of it, which I really love.
What inspired the band?
Sean: Well, I used to play in a just-for-laugh punk band with Oskar back at højskole. I ended up at one of his concerts with a pop artist where, funny enough, Esbjørn played guitar as well! We talked about starting a punk band for laughs and got hammered. And six months later, I ran into Esbjørn, that lovely bastard, at a nightclub at like 4 in the morning and said, let’s do it. A week later, we had our first rehearsal. We started talking about direction and sound, and it just clicked. We share a lot of the same views and struggle with similar things. And it’s a way to get heard, so I believe this keeps us inspired and pushing hard!
Sune: I’ve played music for most of my life and have always had varied influences. Still, since I was a teenager and started playing guitar, I’ve always dreamed of playing dark, high-energy, and abrasive rock music. My first love was Nirvana; through that, I started getting into all kinds of punk rock, subgenres, and many different obscure bands.
It’s an endless rabbit hole that you just can get lost in. Growing up in Esbjerg, I couldn’t find anyone with the same taste I wanted to start a post-punk band with. In many ways, it feels like the universe has arranged all the right circumstances to make this happen. Like we’re finally allowed to freely and fully express ourselves.
Esbjørn: What inspired the band also lies in the story about what inspired the name “USERS”
“We are all users of capitalism, the toxic system, social media, etc. Almost everything we do daily contributes to someone else’s suffering. The clothes we wear, the food we eat, the gas and oil we use, etc. This breaks my heart every day. With an urge almost throughout my life to scream at people, trying to make them realize this, I came upon punk music. I discovered it’s the perfect way to scream all my frustrations out.:
Oskar: I think musically, all four band members have been drawn to the more complex sounds of the grunge, punk, and rock genres since early in life. So, there has always been a pretty good basis for us to start this project purely musically.
Every one of us needed a place to show emotion and get rid of excess feelings. For me, there is no better way to do this than playing hard drums and screaming into a microphone about what makes us feel the way we do. When we do a rehearsal or a concert, you can see us showing emotion in how we play. Hence, the band somehow enables us to channel these emotions into a product that is relatable and exciting to witness live. For me, the emotions in play are desperation, powerlessness, and stress.
I think in the beginning, the band was inspired by us just wanting to play the genre of post-punk since some of us had just seen IDLES at Roskilde festival and came back to Copenhagen with lots of inspiration. Esbjørn and I have always been playing in many different band settings together, and we have always wanted to start a harder-sounding project after moving to Copenhagen. So when Sean (with whom I had played punk during our time at DRH) and Esbjørn randomly met each other in Copenhagen’s nightlife, they began moving things and setting up what is now called USERS.
You are a new band, but you haven’t slowed down. You played Nasty Cut Festival in May, had another show that night, and played Nordlys at the beginning of August. How does it feel to be able to do what you enjoy?
Sean: Strangely, it doesn’t feel different l, but to be fair, this band has swallowed me. It’s all I think about during the day and all I dream about at night. I feel very privileged that people enjoy what we create. You say,” You don’t know what you have until it’s gone.” But I’ve realized I’ve always missed this in my life! If I look at it, I’ve never worked harder for something, but I’ve never had it so easy with what I do because it doesn’t feel like work! It’s like a gift from the universe that keeps giving, and I’m ever grateful.
Sune: To be frank, it feels amazing. We all love playing live, and it’s been a pleasure to see this project snowballing from the get-go. It’s all very exciting for us. We are all very committed to the band and playing as much as possible. We are always making new plans for the future, and constantly having upcoming gigs in our calendar helps motivate and keep us focused. It can be hard work, but we can tell that it pays off. We definitely have no intention of slowing down anytime soon.
Esbjørn: I feel incredibly thankful and privileged. I can’t imagine or think of a time or place where I feel more comfortable and happy than when I’m on stage with what has become some of my absolute best friends in just half a year. I’m completely overwhelmed with gratitude for how lucky we’ve been with the support we’ve gotten and that people keep coming to our shows.
Oskar: Pretty sick! The main thing that makes me enjoy USERS as much as I do is the feeling that this project means something to us and the folks around us. I have played in many constellations through the years and never felt the same excitement towards a band like this one. The band is filled to the brim with high hopes, engagement, and determination to make this project our life’s work. I enjoy being part of that and seeing myself do as well. I have always wanted to perform music as we do in USERS, so I hope we get to show it to everybody.
You have yet to release an album but are ready to release a live session. How does it feel to put some music out, and where can the listeners find it?
Sean: For me, it’s not the first time I have released music. And I’m sure you can find if you’re on par with Nardwuar type of digging. But I’m so stoked about this, as this is something I can be proud of! The blood, sweat, and tears we’ve put into these live sessions have been worth it!
You can find them on YouTube, Instagram, and Facebook! If you fancy checking them out, I’ll definitely appreciate it!
Sune: We’ve only played since January, but even at our first band practice, we talked about releasing an album. So that’s always been in our plans, but we didn’t want to rush anything. Then we came up with the idea of making a live session, and it seemed like a good way to burst the bubble of releasing music. And to be honest, it turned out much better than any of us expected. So we’re all very excited to finally be releasing. I can’t wait to return to the studio and start recording again. The live session can be seen and heard on YouTube, Instagram, and Facebook. And for those who want the music, you can also listen to it on Bandcamp.
Esbjørn: I honestly feel stressed about it. With everything happening so fast, we had to put something out ASAP. In some way, I would have liked our first release to be a proper studio recording with lots of time to experiment… Things have just been going so fast that we haven’t had the time, and it was about time we put something out there. I’m just looking forward to our coming studio sessions this fall.
We’ve decided to release the Live sessions from Hotel Cecil on YouTube, Instagram, Facebook, and Bandcamp.
From following you, I know you are a pretty politically active band. Are you politically active in your spare time?
Sean: I want to think I have my thoughts about what’s happening, but as a political activist, I would not call myself. I have my thoughts and feelings about human ethics and how we treat each other. Believe the best and easiest way to find respect and love between people of different views, backgrounds, and cultures is to sit down eye to eye with no defense or prejudice. I have my ethics and political views, but I don’t believe that I am right by default. There’s nothing more amazing than meeting someone who can make you expand your point of view on the world. I hope that in the future, I can be seen as politically active by giving that gift to people through my lyrics or at least opening up the discussion between friends and friends!
Esbjørn: Yes, I’ve always been aware of how much inequality there is, and I always felt an urge to discuss this. A few years ago, I got active in the climate movement Extinction Rebellion in Copenhagen, and it just made so much sense to me. Besides the band, this is one place I’ve felt at home. I was then very active for a year, doing civil disobedience in Denmark and Germany with different movements. I’ve been less active the past year because I’ve had some very uncomfortable experiences with the police, which I’ve had to digest. The people/activists I’ve met doing this are some of the most loving and caring people I’ve ever met. Undoubtedly, the concerts I enjoy playing the most are at demonstrations. It makes so much sense to me.
Oskar: Not as much as I want to be. I have always been a part of protests and marches against climate change back in my days in Germany. Since I have come to Copenhagen, I have realized the matter to be even more pressing than ever before. Moving to Copenhagen has put me in a difficult financial situation, which I am often stressed out about. I find myself too stressed out or too exhausted to join marches and other political events I support. The system I want to demonstrate against is simultaneously the reason for my inability to do so.
The band is the best way for me to be political in many ways. I feel like I can change something by being part of the strong political messages that are the backbone of every USERS-lyric.
Do you have any goals for the rest of the year? Or maybe even next year?
Sean: I think career-wise, we’ve got loads of goals. We dream of playing Scandinavia’s most prominent festival, Roskilde, and start touring internationally. That’s always been a dream of mine, and I believe in it! But for my personal artistic side, I hope to get to explore more of my traumas and troubles through our music. And hope that I can make people feel seen like the small and fantastic crowd we’ve gathered has made them feel seen!
Sune: We have plenty of new exciting things planned. It’s almost hard to keep track of sometimes. We’re having a release party at Basement on the 28th of September, when the final live session is released, which we are all very excited about. We’ll do more recording this Autumn and then a few other shows in Copenhagen and possibly in Jylland and Fyn. Next year, we’ll get back in the studio. Then we plan to play as many concerts and festivals as possible and maybe even some shows abroad.
Esbjørn: Of course! I’m looking forward to recording and releasing a full-length album, and we’ll do this within a year. That’s a massive milestone for me. Another goal is to play international shows, hopefully soon. We’re working towards playing a lot of festivals next year, and Roskilde Festival is probably my biggest goal/dream as a musician. It feels very surreal that this may be within reach. Besides all this, my biggest goal is to contribute to opening people’s minds and have them reflect upon their privileges.
Oskar: We have a lot of goals for the near and far future. We have many plans for recording in the upcoming months until 2024. The first part of the plan was recording live sessions, which we had just finished. We recorded 3 songs, which will be released in the time up to our release party we have organized to celebrate our live-session release. The next step is to go to the studio we are currently setting up with some of the best people we know. We have lots of material, so we are discussing whether to record an EP or go for the full album. We will probably finance the recording since we don’t have a deal with a label yet, so we will see what will happen. November is going to be the first time USERS go on tour. At least, that is what we plan right now, and things are looking very promising. At some point, the studio records will be released, and we will start preparing for a wild festival season in 2024. We are currently getting everything ready for a promising 2024.
Hello, and welcome to Record Store Spotlight; a new column here on Dying Scene dedicated to an institution almost as American as apple pie and unfettered capitalism – the record store! Today, I’ll be putting the spotlight on one of my favorite local stores, the Clearwater Record Shop. Nestled in the middle of my hometown […]
Hello, and welcome to Record Store Spotlight; a new column here on Dying Scene dedicated to an institution almost as American as apple pie and unfettered capitalism – the record store!
Today, I’ll be putting the spotlight on one of my favorite local stores, the Clearwater Record Shop. Nestled in the middle of my hometown (a city most well known for being home to the Church of Scientology’s headquarters), the Clearwater Record Shop sets itself apart from other record stores with its heavy focus on used music. Rather than relying on distributors to supply new releases, owner Casey Brown has spent years building his inventory one record collection acquisition at a time. The store which spans two interconnected warehouse spaces boasts one of the most expansive selections of used CDs I’ve ever seen. Every time I visit, I leave with a stack of jewel cases a few feet high. It’s easy to get carried away when you’re met with hundreds of bins overflowing with discs, the majority of which are just $3.75 each (or six for $20!).
Sure, it’s hard to beat the ease and convenience of shopping online. But the Clearwater Record Shop goes toe to toe with Discogs prices, and I find that most of the time, they come out ahead. Also, I’ve yet to find a more enjoyable way to kill a few hours on my day off than thumbing through thousands of records and CDs, searching for worthy additions to my collection. It’s a visceral experience that can’t be matched by browsing an online marketplace. Finding a record like The Clash’s Combat Rock for $15, and not having to wait an eternity for USPS to deliver it is icing on the cake. My only complaint about this store is that the selection is literally overwhelming. If you’re on a budget, you might have to get a little picky as your stack grows taller.
In the cooler months (yes, we sometimes have those here in Florida), the Clearwater Record Shop acts as a host to monthly swap meets. Local record collectors and vendors are invited to set up tables in the parking lot to sell their wares. These events serve as a great meeting place for the community, and are a highlight of winter and spring for me. The first time we attended, I grabbed a few LPs, including the Buzzcocks’ A Different Kind of Tension ($10) and Billy Joel’s Songs in the Attic ($5), along with a bunch of dollar bin CDs by the likes of the Ramones, Ozzy, and Megadeth.
It’s always a fun time shopping at this store. Casey is very personable and has created something really special here. The store has a unique, inviting old school atmosphere. The selection is great, and the prices are fair. Your dollar goes a lot further here than it does at most record stores.
If you ever find yourself in the Tampa Bay area, I highly recommend stopping by the Clearwater Record Shop. With two air conditioned warehouses packed to the rafters with nothing but music, music, and even more music, you’re bound to stumble upon something that suits your fancy. Or, if you lack self control like me, you’ll probably leave with a mountain of stuff that suits your fancy.
For more info, check out the store’s website, and follow them on Instagram.
Do you have a favorite local record store you’d like to let everyone know about? Of course you do! Hit us up on Facebook or Instagram and submit your own Record Store Spotlight. The more the merrier!
Toronto pop-punk band Fluffio‘s debut EP TV Generation is a 4-song ripper with hints of Green Day and Blink influence sprinkled throughout, but what their sound reminds me of most is the Suicide Machines‘ poppier output. Listen to TV Generation below and buy the EP here.
