Thursday, July 24, 2014

Album Review: "Hidden Mothers EP" by Magpie Feast

Magpie Feast released "Hidden Mothers EP" on
July 13, 2014. Listen to it on their Bandcamp.
Nowadays if an artist is set to release a new recording there's usually quite a bit of pomp and fanfare. Album release shows, listening parties, you name it, basically any chance an artist gets to wedge their name in a new listener's ear is immediately pounced upon. That's what makes artists like Magpie Feast so refreshing, there's no self aggrandizing publicity that's filled with high praise from everyone and their mother. Magpie Feast relies solely on their music to do the talking for them, and dammit that music should be shouted from a mountaintop. Last year Magpie Feast's full-length Out of the Womb made its way to our Top 10 North Carolina albums list thanks to the band's rich storytelling, powerful instrumentation and blatantly awesome aura. Now the band has released a brand new EP Hidden Mothers rather unceremoniously. There was little more than a Facebook announcement to herald in the new release, but when you've got the deft songwriting skills that Matthew Southern and company do, you don't need a massive campaign to bring listener's to their knees begging for more.

Hidden Mothers EP isn't a grand departure from the act's previous work, but rather it finds the band digging deeper into the proverbial rabbit hole. There's much more orchestral string arrangements, but rather than adding grandiosity to these tracks they instead bring subtle layers of melody and harmony to the mix. The EP is bookended by two instrumental tracks, "Hidden Mothers Theme" builds tension and anticipation with a gradual build of acoustic guitar and rustic strings before slowly fading into the swaying sounds of "Moon Advises Crow." The three tracks that are nestled between these brief instrumental adventures are punctuated with sparse electric guitar and vibrant strings, yet driven by simplistic acoustic arrangements and Southern's quivering vocals.

"The Wolves Pt. 1" is arguably the track most indicative of Magpie Feast's prior sounds, it's filled with a myriad of compelling sounds that beckon the listener to dig deeper into the rather condensed arrangement. The banjo at the core of the song takes on an almost percussive element, it's harshly plucked and slowly drives the song along in addition to some distant percussive clatter and a particularly addictive wordless chorus.

By the time "The Mouse" rolls along we've yet to pass the ten-minute mark but it feels like the release has traversed a wide array of soundscapes, which makes the upbeat rhythms of the track feel all the more enjoyable. Vocal harmonies are much more pronounced and the track feels firmly rooted in traditional folk standards than the darker, somber tones of the rest of the EP. "The Mouse" transitions excellently into the equally upbeat, rambler "Goodnightshade,"a track that slowly unfurls with quaintly fingerpicked acoustic and ambient electric additions to end things on a dreamy, blissful note.

Hidden Mothers EP is a brief journey into the musical minds of Magpie Feast, clocking in under 15 minutes it's a nice teaser for the direction that the band may move forward with. There's plenty of new aesthetics that set this release apart from their previous work, but enough of their tried and true structure to placate fans expecting a riveting display of blues-folk goodness.

Friday, July 11, 2014

Shakori Hills announces Stars in the Round lineup

So Shakori Hills is basically one of my favorite parts of the North Carolina music scene. While Shakori is primarily best known for their bi-annual festivals that take place in April and October, the 75-acre farmlands have been gradually getting more and more events since the organizers made their long-awaited land purchase. Naturally this means that any chance folks can get to flock to their festival mecca should be one ridiculously excellent time. Last month Shakori Hills hosted a luau themed event on the farmlands, displaying the depth and diversity of their talent pool and further expanding their musical horizons. However, on August 23 the 5th annual Stars in the Round event will bring a handful of the region's talented songwriters to Shakori Hills for an evening of roots-driven folk, soul, country and Americana.

For the past five years Stars in the Round has been bringing together various songwriters to share their music in a rich communal environment. The evening's staple performances are based around a songwriters circle, hosted this year by Grammy Award-winning North Carolina artist, Jim Lauderdale. Lauderdale will be joined by Laurelyn Dossett, John Howie, Jr., Dan Smith, Nikki Talley, and Shannon Whitworth as they one-by-one pass the mic around to serenade the droves of Shakori supporters in attendance. Shakori staple Ironing Board Sam will be opening up the evening's performances with his captivating, soulful sounds.

Profits from the annual event all go back towards the Shakori Hills Community Arts Center, a way to make sure that fantastic events like these continue to grow and flourish in our local community. The funds will help the organization to improve upon the infrastructure at the farmlands, planned renovations include an indoor dance hall and improvements to the community gardens and nature trails. The Shakori Hills Pizza Shack will be open along with the Lil' Coffee Barn as well. Beer will be available from Carolina Brewery and snacks from Pittsboro's Phoenix Bakery will be on-site as well. Tickets for the Stars in the Round event are $15 in advance and $20 at the gate, with camping allowed for the evening as well at $15 per site (allowing 1 vehicle and 2 tents). More information on the event can be found at

Wednesday, June 11, 2014

Ears to the Ground: "Know My Love" by Weller

Weller, the new project of Nathan Toben (The Toddlers),
will release their debut album Weller, I on July 1, 2014
One of the downsides of having such an amazingly deep music scene is that some of the area's most talented songwriters may never get their due. Those that get picked up by larger labels will sell-out the Cradle, some will garner a dedicated, passionate local following, others may fade into obscurity. Most fall somewhere in between the spectrum, revered by droves but largely unmentioned when it comes to to powerhouse listings.

Take acts like The Toddlers for example, the band released their self-titled LP last October to little fanfare despite their powerful gothic dream-pop arrangements. Even with high-profile tours with acts like Lost in the Trees and the Love Language, the group largely remained in the shadow of our region's more prominent acts. Since last year's release the group has suffered the same fate as many of our local favorites and has moved on to new projects. But with every band's demise there must come more, the constant state of flux is what keeps this scene so damn thrilling.

While many still mourn the recent loss of The Toddlers, the group's songwriter, Nathan Toben, has already begun to craft new and engaging tunes. The songs found on Weller, I, Tobin's full-length debut as Weller, are deeply personal cuts that chronicle bouts of paranoia and perseverance through a shimmering and enchanting veil. The album careens through a wide array of emotions, everything from bright and lovestruck to somber introspections. Take the album's lead single "Know My Love" for example, it's a track that delves deeply into our own insecurities of moral standpoints and existential crises.

"Tell me what it is that makes you so certain man/Does it come from within?" Toben croons smoothly over grooving rhythms. The melody tumbles along gracefully, riding along with one of Toben's most danceable riffs, but the lyrical content doesn't falter one bit. "Do you trust the synthesis inside of your head/And all those books that you’ve read? he ponders, going on to question what it means to"be a good man." Toben's songwriting proves to brilliantly tow the line between infectious pop simplicity and heavy-hitting personality, making for a unique, mesmerizing output.

Weller, I is set to be released on July 1, the album was recorded at Timberlake Earth Sanctuary in Whitsett, NC with Wesley Wolfe producing. Toben has been gradually leaking more and more information about Weller through his website, including tracks and an eventual full-album stream upon release. For now though we're phenomenally excited to share "Know My Love," the lead single from a very impressive debut effort from Weller.

Wednesday, May 21, 2014

Show Review: Drumstrong Rhythm & Arts Festival

Drumstrong's 24-Hour Drum Circle Kick-Off

It takes a lot for a music festival to come together, especially one of a multi-day magnitude. The lineup has to be just right, the pacing has to match the tone of the weekend, the promotion has to do its job, the festival grounds should be welcoming and easy on the get the picture. It may seem to be as easy as throwing a stage and a handful of bands together, but it's far from that. Drumstrong knows that, they've held their day-long event for years on end now, but the 2014 installation marks the first expanded year of the event. From Friday to Sunday the Misty Meadows Farm was home to dozens of incredible acts from both locally and nationally acclaimed artists, fans gradually poured in throughout the weekend and by the end of the event it had evolved into a drum-fueled bonanza of brilliant music for an excellent cause. But the best laid plans don't always make for the best events, while Drumstrong boasted a mighty impressive lineup it seems like the festival is still getting its jitters out.

Junior Astronomers
It's hard to put a finger on what felt so out of place throughout the weekend, maybe it was the $900,000 homes across the street from the pseudo-hippy festival, maybe it was the stringent searches upon entry or perhaps it was the hard festival set limits that left acts like Marley Carroll cramming their tunes into a half-hour slot. Either way, something felt a bit off about the three-day event that persisted throughout the weekend. Upon arrival on Friday evening the farmlands seemed bare, with thirty or so people standing around haphazardly swaying to the music. However, once Junior Astronomers took the stage things gradually came to life. The boisterous post-punk crew played an even mix of newer tracks from their debut full-length Dead Nostalgia and a few from their previous EPs. Festivalgoers were somehow hooping along to the jaunty rhythms while others bounced along and shouted along to Terence Richard's throaty melodies. The night mostly followed fairly cohesive order as the more melodic but sonically similar Charlotte crew of HRVRD took the stage. Miami Dice served as a bridge between the rhythmic, melody-driven punk and the dance-based acts of the evening. Miami Dice came with stage dancers in tow, but at this point of the night it felt like the crowd had kind of clocked out. A handful of folks would rush to the barriers to grab the free PBR hats thrown out throughout the weekend, but most would swiftly retreat back to their lawn chairs or the beer garden near the stage after that. When I saw roughly twenty people slowly crowding in for the evening's headliner Marley Carroll, I questioned the vibe we'd have throughout the rest of the weekend. The sound guy got cranky and the set started around 20 minutes later than anticipated, resulting in a truncated set from the incredibly impressive Asheville-based producer. Regardless of time constraints or disappointing turnouts, Carroll was hamming it up as he remixed his dazzling productions.

Marley Carroll
Friday was an odd kick-off to say the least, and as I arrived to the farm late Saturday morning I wasn't feeling much more optimistic. A small crowd gathered near the stage for Bombadil while others were dispersed throughout the farmlands at picnic tables and community painted walls. However, as the day went on the crowd grew in numbers to the point where things finally started to get a bit more of a communal vibe. Triangle favorites like The Love Language and Lost in the Trees played sets filled with fan favorites for those that baked in the sun for their stunning sets. Halfway through the afternoon The Mantras took the stage and seemingly turned on the excitement for those in attendance. Jam-bands are frankly not my thing, but the Weddington crowd seemed enamored by the band. As a matter of fact more folks seemed to be at the festival just to see the evenings main draw Railroad Earth than any other act of the weekend. The afternoon took a rootsy turn as Futurebirds took the stage and the dusty vibes continued throughout local favorites American Aquarium and Chatham County Line. I knew Saturday would be the easy highlight of the weekend, and obviously the other attendees did as well. By the time Kopecky Family Band and The Felice Brothers took the stage, the crowd was packing in tight and gradually building in excitement. Things took a downward turn for those that don't dig the jam-vibes after the Felice Brothers though. Railroad Earth brought their contemporary twist on bluegrass with blend of expansive tunes that border between traditionalism and jam-based. Yo Moma's Big Fat Booty Band is where I drew the line though. While I love checking out new music, especially acts steeped in the funk, I'd had enough noodling for the evening and trekked back to the hotel for the evening.

The Felice Brothers
Sunday as a whole proved to be a nice low-key closing for this unique festival. Few acts on the lineup were of huge interest to me, so the crew trekked to IKEA to kill some time throughout the late morning hours. It was arguably the best and worst decision I made all weekend. However, acts like Elonzo, The New Familiars, Overmountain Men and Dom Flemons made the day all worthwhile. Sunday's bill was a bit indicative of the entire festival, there's some truly impressive acts peppered in with some that I could really do without seeing. Overall though the music throughout the weekend was pretty great, but to quote the great Kanye West..."the vibe is wrong." A three-day camping festival that's held in a city with the 3rd highest median income of North Carolina just feels odd. I literally had an event staff member tell me that "I looked out of place" as I came in amidst the sea of Range Rover driving teenagers and croakie-wearing attendees. Folks were double-taking at the VIP wristbands the press had, a few aggressively stopped and grabbed at us to make sure we were actually VIPs, and all in all the short set times made the flow of the festival feel a bit too disjointed.

But don't get me wrong, Drumstrong serves an excellent purpose and they brought a lot of excellent music to some folks that probably weren't familiar with them at all. It's an incredibly affordable festival that benefits cancer organizations, but it wasn't as warm and welcoming as the other festivals I've attended. There were no random festi-friends made, people weren't as outgoing and carefree as events like Shakori and the rules were rather extensive on the grounds. Regardless, the festival holds bukus of potential and I look forward to seeing where they go from here.

Thursday, May 15, 2014

Artist Feature: Dom Flemons

Dom Flemons performs at Drumstrong Rhythm &
Arts Festival outside of Charlotte, N.C. on Sunday,
May 18.
In the past decade few North Carolina acts have risen to the level of fame that Carolina Chocolate Drops have. Formed in 2005, the trio popularized old traditional songs and brought forth a new era of the rootsy folk aesthetic for the North Carolina music scene. In 2010 the group won a Grammy for their stellar album Genuine Negro Jig, but shortly after their newfound fame one of their founding members, Justin Robinson left the group to pursue solo endeavors. In the years since the group's Grammy award-winning album, the lineup has shifted in various directions, but their sound has mostly remained fairly static. Perhaps thats why multi-instrumentalist Dom Flemons has taken the Robinson route and left the group to release his own solo work as well. The split was announced late last year, and while founding member Rhiannon Giddens still remains in the group, a vast amount of attention is now pointed towards Flemons and his forthcoming solo debut Prospect Hill.

"Even though I founded the Carolina Chocolate Drops," Flemon says "there are parts of my musical personality that people have not seen because when you play in a group the group is always the main goal. It’s a team." Now that Flemons has struck out on his own though, fans can expect a marked departure from his work with the Chocolate Drops. Granted there will still be a heavy focus on traditionalism, but Prospect Hill finds Flemons trekking into new territory. "There's a little more jazz on this album," Flemons remarks. He goes on to add that he's even included a few of his own songs, something that fans never got the chance to see with his work in the Carolina Chocolate Drops.

"I always saw that the bigger cause for the group was to promote black string bands and show that piece of American history. In my own mind I never really wanted to write songs as much as let the history speak for itself because I personally find that to be a stronger artistic statement than anything I could just make up on my own." But now Flemons says he seeks to "find a balance" between interpretations on classic tunes and his own original material.

But when so much of your popularity comes from your roots driven debuts, that balance may be hard to find. However, Flemons seems to do so effortlessly. Throughout his nearly ten years in the Carolina Chocolate Drops, Flemons and his cohorts were re-contextualizing these lost gems of American music while incorporating their own contemporary spin on the tunes. Flemons speaks fondly of his musical upbringing, although he was born and raised in Arizona he seems deeply connected to the music of the south. Flemons mentions coming across older musicians who had been playing blues "for two and sometimes three times [his] age." These run-ins coupled with countless fiddling conventions and a deep appreciation for the narratives found within traditional music pushed Flemons towards this timeless genre.

"Although I love traditional music I am not stuck in a time warp," Flemons says. "People get it confused. A lot of times they think that when you interpret old music that you have to be old to do it. But that’s just not true. I am 31 years old and I have a style that I like and I go with it." And thanks to Flemons "going with it," an entirely new generation of listeners have become privy to the rich culture that's buried within these old-timey songs. However, don't get too entrenched in the past, as the new tunes from Prospect Hill promise to be filled with just as much jangly goodness as his beloved interpretations. Flemons will release Prospect Hill on July 29, and now that he's re-located back to North Carolina fans can expect to see a whole lot more of this well renown multi-instrumentalist. So local folks better prep themselves for some spoon slappin', jug blowin', banjo pickin' bliss, because Flemons' music is as infectious as ever.

Tuesday, May 13, 2014

Show Preview: Angel Olsen w/ Promised Land Sound

Angel Olsen performs at Cat's Cradle in Carrboro, N.C.
on Friday, May 16.
Angel Olsen simply can't be described as a folk singer-songwriter and she proved this with the release of her newest album, Burn Your Fire For No Witness. Previous to this album she released an album and an EP of mostly home recordings, though incredibly haunting and beautiful, did not actually put her on the radar with her cohorts. With Burn Your Fire For No Witness being released on Jagjaguwar Records, Olsen's voice has expanded to a far wider audience and has resulted in high praise from music critics of NPR and the like.

Olsen's new bigger sound doesn't limit her and she stays true to herself in her lyricism. Her lyrics read like poetry and are almost too real in terms of relateability. Burn Your Fire... may have songs that are more upbeat with a backing band like "Forgiven/Forgotten," but in between those songs lie moments of pure serenity and sadness. These two qualities dominated her previous songs and in a way made them more personal to the listener, however, with Burn Your Fire a sense of hope lurks in between the melancholy melodies. Triangle fans have shown a particular fixation with the vexing songs that Olsen produces, so expect a packed Cradle filled with adoring fans washed in emotions and amazement at Olsen's powerful presence.

Olsen will be preceded by Promised Land Sound, a young Nashville band of dudes who like to play country-tinged garage rock. The young group of roots-rockers have earned high acclaim from Jack White's Third Man Records, being billed as one of their "favorite local bands." Their debut full-length was released on Paradise of Bachelors and was followed by a 7" on Third Man. This vigorous young group has just begun its conquest through the music industry, but all it takes is a few listens to see that they're filled with limitless potential.

Friday night boasts a solid paring of bands and sounds, making this show a weekend highlight. Fans can soak in the rustic rock of Promised Land Sound before getting emotionally wrecked by the heartbreaking warbles of Angel Olsen. Tickets are available at and are $12 in advance and $14 at the door.

Interview: James Felice of The Felice Brothers

The Felice Brothers will perform at Drumstrong
Rhythm & Arts Festival outside of Charlotte, N.C.
on Saturday, May 17.
In advance of the Drumstrong Rhythm and Arts Festival, taking place in Weddington, N.C. this weekend, we've spoken with a handful of artists that we're particularly excited about playing the upcoming festival. Drumstrong highlights a wide array of local and nationally touring artists, ranging from traditional leaning folk and bluegrass to post-punk and electronic, so naturally there's a lot to love about their lineup. Yesterday we highlighted Marley Carroll, an Asheville-based producer that headlines Friday night's festivities. Today we're sharing contributor Kyle Bement's conversation with James Felice of The Felice Brothers, one of the festival's marquee headliners. Be on the lookout for one last artist highlight with Dom Flemons within the next few days!

When did it become apparent that it was going to be music that you guys did?
I guess it was one of the only options left on the table for me, personally. I'd spent a lot
of my life playing it and not doing much else, like going to school or developing any other skills, a trade. I think by the time I was like 20, I knew that I couldn't really do anything else with my life and I had to play music.

That's cool, by that time, how long had you been- I mean, you must've been jamming....
They were older than me, and they were my cool older brothers, so I definitely absorbed a lot of that. I definitely looked up to them and I thought that was cool.
I was a teenager, so I started playin. They started playing music and I thought that was really cool. I was a kid, a teenager, and so I started playing.

What would say if you had to sum up the theory behind the Felice Brothers, what would you say in a word or a phrase?
A word or a phrase? I would say... That's a tough one, because I feel like when you try to condense your whole life down to a single word or phrase. We've never been very good at that, we've never been very concise or able to explain ourselves and that may be part of who we are and what we are. I think it's just "Family band plays good music." We're a good band. Not the best at selling ourselves, obviously, as you can probably tell.

I mean, that's how I explain it, they're these brothers and they're a good band.
Yeah! There you go. That should be enough, right? Nothing more sexy and compelling than that. I don't know, probably? But, we're hard-working, self made, and self taught and this is what we do for a living, our livelihoods.

I know you have a new album coming out, is it an evolution thing or more of a conscious decision that, "Hey, this is going to be different."?
This record is definitely more of like a synthesis between Yonder and Celebration. It's definitely more raw and natural sounding. More like a live band feel, I think.

If you had to describe Favorite Waitress succinctly, how would you do it?
Exciting. Vibrant. And just more natural, more relaxed and a more down and relaxed record, definitely more better. How's that going to look in fucking print? "More better?" It's more AND better. It's a more confident record for us. I feel like this our first real studio record, we recorded most of the tracks live and we got more out of it than we have in anything else we've done.

The first album was in a chicken coop and the next in a high school, is this record any different?
This album was recorded in an actual studio, for the first time in our lives playing in a real studio, in Conor Oberst and Mike Mogis' place, actually. It was a really nice opportunity to do that and not have to record in chicken coop or a high school, or any of those places that we've built, it gave us the opportunity to be able to focus on just recording an album and not anything else. It was a nice change of pace.

I've seen that you went on tour with Conor... was it Conor Oberst or Bright Eyes?
It was both, actually. First we went on tour with Bright Eyes, but we've toured with the Mystic Valley Band and also just with Conor Oberst as his backing band.

How did the Conor Oberst thing come about, did he seek you out?
Yeah, basically. We started working with some of the same people and we just got lucky. He had heard some of our music, and...he's really good about that. He's a really generous performer, and he takes smaller bands with him on the road. We just became friends, and we respect each other's music and sensibilities. He's honestly one of the best people I've met in my short career. He's a generous, kind human being.

I saw that Ian painted the cover of his latest album, Upside Down Mountain.
Yeah, yeah, he painted the cover of our record, Favorite Waitress and also Conor's record.

So you're going to be at Drumstrong outside of Charlotte? I know it's a cancer benefit, is there anything that particularly drew you to that event?
I mean, the way these come along is that they ask us if we want to play. For all intents and purposes, I guess we were hired to play. They seem like really great people and we've been in contact with them a bit. We're really excited to play the festival, can't wait to be down in Charlotte, it's beautiful down there. We're really pysched about it. They seem like they know what they're doing and it's going to be for a great cause. It's going to be a lot of fun.

Oh, I was just looking at your tour schedule and you're playing Charlotte, Charleston, and then hopping the pond to the UK. Is it a different crowd you play to over there despite what you do being so... American?
Yeah, the crowds are great in the UK. English people, historically, tend to have really great taste in music. They've always liked us over there. Our first really big shows were in London, and it continues to be that way to this day, where we probably do better over there than we do here in the states. They have good taste, not necessarily in food, but definitely in music.

You pack some hot dogs and stuff to bring with you?
No, you just need to know where to eat. You need to get Indian food in the UK. Ethnic food is always great in London. Bear that in mind when you're over there.

Speaking of great music, what have you been listening to lately?
I have been listening to this songwriter named Marissa Nadler. Have you heard of her?

I have not.
She is really, really amazing, I hadn't heard of her until she played a local show near where I live in the middle of  nowhere and I missed it because I'm dumb. People told me it was great, so I started listening to her. She's really great, she's got an album out July. It's beautiful, she sings beautifully, her songs are awesome and sort of strange sounding, a lot of them, but really very good. Very, very good.

On the subject of songwriting, how would you say a typical Felice Brothers song comes about? Do you lock yourselves in a basement and say, "Alright, let's figure this out"?
Yeah. A lot of the time. Y'know, it depends. We have all different ways of doing it. My brother Ian probably writes the bulk of the songs, no, he definitely does. Sometimes he comes to the table with a song that's done and we just do what we can not to fuck it up. A lot of the time, too, he'll come up with an idea or come up with a riff, a couple of lines, and we'll just hunker down and just spend DAYS locked in a room trying to figure it out.

Do you see the songwriting thing as... the way Nick Cave does, I heard an interview with him where he said, "I'm writing an album" and for the next few weeks, 8-4 mon-fri, he's writing an album or is it more natural than that?
I think it is like that, especially when you're busy. You're not writing a lot of songs on the road, so... it really is like you have to make time, carve out a piece of time to make an album and song writing is definitely a part of that. So, we'll set aside a month, or how ever long, to write an album because we have to make an album. And things come up, sometimes songs you write don't even get recorded for a year, or ever, or old songs come back up which happens sometimes and stuff like that, or sometimes you write a few songs in the studio, that also happens. We work so many different ways.

Cool, so it sounds like it's more organic with a schedule than it is rigidly scheduled.
Yeah. We're not the most scheduled people. It's good to have a deadline and good it's to know what you're doing because we don't like to just not do anything. It's good to be working. This is all we do. If we're not on the road or recording a record, we're working on a record.

How do you feel about festivals in general? I read an interview awhile back with Ian where it was obvious he was not a festival fan.
No one in the band is like a festival goer. I guess, you could say. We wouldn't go to Bonnaroo, or to most festivals if we weren't playing. I've never been to a festival in my life except to play it. That's just because we're pretty... not isolated... but we're not partiers. We don't go out often. It's not really our thing. And festivals can be poorly run, or they can have over busy schedules that can be sort of trying. You're rarely able to put your best foot forward in a festival setting because you don't get a really great sound check, the situation is not ideal. If you're headlining a festival, it's different, but for us, usually it's you get there, you run on stage, you plug in, you hope everything works, and you start playing. You're playing for a half hour or forty five minutes and that's it. It's not necessarily the most ideal, usually, but there's also an element there that's really fun because you have to play for people that wouldn't normally see you and also just like people who are in a totally different headspace. Maybe that has to do with drugs, but maybe that has to do with attitudes, as well.

Would you say you have a festival set list vs. a club set list?
FOR SURE. Usually, we do. We trim down the festival so it's basically more whatever acceptable tracks, or maybe more high energy tracks. I guess we're making a bigger splash in a shorter amount of time to try to get people into the band. Some of our tracks can be a little strange and I know there are hardcore fans that love them, but we there's also sometimes where we don't care and we just do whatever.