Big Stories

Right Away, Great Captain! To Be Revived

by Zack Zarrillo - Feb 25, 2014


Andy Hull’s Right Away, Great Captain! will apparently be making a comeback following the end of a trilogy that was released in 2012. Check out an interview with Hull via On Record Magazine below after the jump.

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POZ Inside: Kevin Devine - An Oral History (Part Two)

by Zack Zarrillo - Jan 28, 2014


PropertyOfZack launched Inside during the summer of 2013 with Run For Cover Records. We’re bringing you the third part of the second installment of the series today with Kevin Devine.

What we’re striving to do with Inside is to bring you incredibly in-depth content from your favorite artists, labels, and companies in the music industry with insights and details you would never be able to find in a normal interview or story. It would be hard to explain the importance Kevin Devine has had on the development of PropertyOfZack over the years, and we’re honored to have him as our second Inside feature.

While part one featured Kevin Devine telling his own story, part two is the second half of an oral history of Devine’s entire musical career, as told by bandmates (The Goddamn Band), tour mates (Jesse Lacey, Andy Hull), and collaborators (John Mathiason, Rob Schnapf). Enjoy a comprehensive look at Devine’s career picking up at Brother’s Blood and beyond!

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Chris Bracco: After the cycle of Brother’s Blood was finished, it was time to start Between the Concrete & Clouds. This was some time in 2010. This as the first album Mike Skinner didn’t play drums on and I produced myself. The way this started was me, Mike Fadem, and Kevin rehearsed the songs a bit then we had the other guys join in. Everyone wrote a lot more parts on this record, so it’s a pretty dense record. For the band demos, we tracked drums and some guitars in the rehearsal space then finished everything up at our house in Connecticut. When it was time to record, there wasn’t a definite label lined up to release it, so we tracked everything at our house starting sometime in January 2011. Fadem was upstairs in our living room where we recorded the Brother’s Blood demos and Kevin and I were in the basement recording scratch guitar and vocals. After a weekend of getting drums we had the other guys come up over the course of a month on the weekends to add their parts. When we finished tracking, the masters were sent off to Rob Schnapf to mix. 

This was also a bit of a learning experience. This is the first record that I recorded but didn’t mix. For me, mixing is a time for experimenting and fixing/changing/re-recording things that I don’t think are working so there are some things on this record that I wished I had fixed before sending off. For this record I was unable to play a lot of shows because of work and a new baby but did get the chance to play some great New York shows and a couple out of state shows.  Daniel filled in on bass for most of the album support.

Brian Bonz: Our dynamic in the studio is always very open. We normally demo a month before live, so we know what needs to get done or added when we hit the studio. I remember Kevin and Chris helping me add all the string mellotron parts to “The City Has Left You Alone,” and learning so much about octaves and harmonies in the context of keys/strings. Another good studio story is when Strand ate KD’s sushi not knowing it was his while recording Brothers Blood. We call that a “Classic Strand.”

Andy Hull: I mean beyond Kevin becoming a touring mate, he became a really close and personal friend. You know? He’s one of my top five friends that I have. We were certainly close making that first Bad Books record, but really that first record was not even a record. I know Kevin has said it many times, but we didn’t know what we were making. We just knew we were making something. No intention of being a band, that’s why Ben was going to come down; it was like, “Yeah man it’s whatever, just come down and play some guitar.” We had no idea we were putting together the outlines of a band that people would actually end up really liking. You know? I think that since he and I are both kind of suckers for complete pieces of work and not shitty EPs or whatever it is – we liked the idea of a full album. That’s why we put the first one together. And when it came time for the second record, there was a lot less stepping around each other. We could be really upfront and honest. Like I remember on the first Bad Books record there was something I wanted Kevin to sing and he was like, “I can’t sing that. I can’t do that. I know you can do that, I know you think I can do that, but I can’t do that.” I was like, “But you actually can do it. Can you at least try?” And he would try and then he would do it. And since that period, I feel like – not at all to say that Bad Books was the catalyst, but certainly I think it helped push him further into realizing that he was a really great singer and had a great range for harmonies. Which I don’t think he had in his weaponry when we first met. 

Ben Homola: I did a tour a playing drums opening for Manchester Orchestra with Kevin and the GDB a while back. He gave me a call a week or two before and said that he needed a drummer for the run. I didn’t second guess it, and found myself heading up to NYC to rehearse soon after that. I did that tour and after that, I continued drum teching for Brand New. Around that time, what would eventually be called Bad Books got together to start recording what would be our first record, I was playing with Manchester Orchestra. I think with my past playing with Kevin and currently at that point playing with MO it just made sense that I be part of that project. I’m really glad to be a part of that band because it’s a chance to play with two of my favorite groups of people. 

He keeps things interesting for sure…especially into the later hours of being in the studio. I mean I’m sure we’ve got footage somewhere of the explosive freakish moments that are signature KD. He’s the type of guy that will have things down on paper but you can also throw him a curveball and he’ll figure it out almost instantly.

Chris Bracco: In 2011, right before BTC&C was released, me, Kevin, and Fadem recorded a tribute to Nirvana’s Nevermind. This was also recorded at our house in Connecticut. Fadem recorded all of the drums in about 4 hours on a Saturday afternoon in August, while Kevin recorded scratch guitar and vocals. A few weeks later, right before Kevin and Fadem were to leave on tour to support BTC&C, Kevin came up to record his guitar and vocals. This was right after Hurricane Irene and our house had no power. There was also no time to reschedule it, since they were leaving for tour in a few days and we really wanted this to come out on the day of Nirvana’s 20th anniversary release date. Fortunately, the people who lived behind us had power so we ran 200 feet of extension cords from their house to my basement: enough power to run a computer, pod guitar processer, and some outboard gear. 

He recorded all of his vocals and guitars in about 8 hours. Once our house got power back, I recorded the bass parts and mixed it as fast as possible to make our deadline. Overall, I think it’s a pretty good tribute to Nirvana. It obviously has some flaws, but how can you beat the original anyway? It was mostly done for fun and it was a record we all loved and grew up on. 

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POZ Inside: Kevin Devine - An Oral History (Part One)

by Zack Zarrillo - Jan 21, 2014


PropertyOfZack launched Inside during the summer of 2013 with Run For Cover Records. We’re bringing you the first part of the second installment of the series today with Kevin Devine.

What we’re striving to do with Inside is to bring you incredibly in-depth content from your favorite artists, labels, and companies in the music industry with insights and details you would never be able to find in a normal interview or story. It would be hard to explain the importance Kevin Devine has had on the development of PropertyOfZack over the years, and we’re honored to have him as our second Inside feature.

While part one featured Kevin Devine telling his own story, part two is the first half of an oral history of Devine’s entire musical career, as told by bandmates (The Goddamn Band), tour mates (Jesse Lacey, Andy Hull), and collaborators (Rob John Mathiason, Rob Schnapf). Enjoy a comprehensive look at Devine’s career through Brother’s Blood this week, and look for the rest next week!

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Chris Bracco (The Goddamn Band): Mike Skinner and I went to Binghamton University together in Upstate New York. We were both in bands, and our paths would cross from time to time. At the time, I was in a band called Wookiee, and he was in a band called Sidedoor Johnnies, among a handful of others. Near the end of my senior year, our bands decided to release a compilation CD together, along with two other bands from Binghamton. I used to record my band and other bands in Binghamton on 4-track recorders at the time, and this is where my love of recording started. I personally think learning on a 4-track is the best way to learn, because you have to figure out the best ways to work with it’s limitations which leads to a lot of trial and error and experiments. 

Anyways, after graduation, Mike and I kept in touch, and our bands would play shows together. When the rest of my band graduated college the next year, we all moved into a house in Queens at 80-20 Margaret Avenue in Glendale. It was at this house that 80-20 Studios started. By this point, I upgraded to a digital 8-track machine and a 16x4x2 mixing board, and kept recording my band and some others in our basement studio. At the time, Mike was living in Williamsburg and we still kept in touch, and we started playing together doing these spaced out jams and art installations. Through Mike, I met our friend Will Quinnell, (Will introduced me to my now wife Amy!) who worked at Sony Studios in their mastering department. Will helped us with some mastering and we hit it off as friends. We both also loved recording. 

So Mike, Will, and I decided to pool our resources and get bigger better recording equipment. We upgraded to a DA-88, DA-38 and an 8 track Pro Tools system that was synced with the DA-88 and 38. So we built up a 24 track recording studio in our basement in Queens with a 32x8x2 mixing board. To give you a visual, this house we rented had a finished basement that was probably decorated sometime in the late ‘70s. Wood paneled walls, some carpet, some linoleum tile, and we also put a pool table down there. Around this time, Mike started playing drums with Miracle of 86. The first time I saw them perform was one of Mike’s first shows with them at Brownies in the Lower East Side. 

Mike Skinner (Miracle of 86, The Goddamn Band): I hadn’t been playing for a few years, and I had a practice space that was a smaller room in a bigger space, and the person in the larger room was Walter (Schreifels) from Quicksand, who ran a label and offered to help me find a band. I ended up meeting Kevin and the other guys in Williamsburg and joined Miracle. 

He and the other guys were so young — they were just really eager kids to me. He was still in the stage before he was comfortable with how good he was. I knew he was a top talent, and I don’t know if I would’ve stayed with a band if I didn’t think they were going somewhere. We were reaching in a lot of different directions.

Mike Stuto (Brownies): I owned and operated Brownies in the East Village until 2002. We used to do emo shows — well they weren’t always emo, but we became known for that — on Sundays, so with bands like Taking Back Sunday and Brand New. I was the bartender on Sunday nights. I owned the club and did some booking, but I wasn’t the main guy. I wasn’t a big fan of that sound, and I’m still not.

Kevin started playing Brownies in ‘99 and 2000, and the first or second time Miracle played, they were second on a bill of four bands and drew a lot of people. Any band that drew like that got a second chance.

If you asked me what band that played Brownies would have “made it,” I probably wouldn’t have picked Miracle. But even when I was miserable and cynical about what I liked, Kevin broke through that. There’s a lot of disingenuous bands when you book shows in New York City, but Kevin was always genuine. He played here when I was at my lowest and angriest at running a rock club.

John Mathiason (Manager): As bizarre as it sounds, I used to manage a band called Weston from Pennsylvania, and I met Kevin through my cousin, because Kevin showed up at one of Weston’s last shows at Brownies in New York. And I didn’t know who Kevin was. I was with my cousin and Kevin starts heckling the band from the back of the bar, yelling things like, “Play your old shit!” They’d just come out with this new record, and the old fans really hated it. Kevin was yelling that, and I lean over to my cousin and I’m like, “I’m going to kick that kid’s ass if he doesn’t shut up.” My cousin was like, “No, no. That’s Kevin Devine. He has this band called Miracle of 86. I want you to listen to it because I think you’d like it. You should manage them.” So Kevin had this band called Miracle of 86. This must have been like 2000… oh boy. 2000. So yeah, we’ve been working together for about thirteen years. 

Chris Bracco: I thought they were great. I loved the energy and the songs and thought that Kevin was awesome at screaming/singing and had a great sense of melody. I also liked that they didn’t just play punk/emo/fast songs, there was dynamics in the songs and set. This was something that I always loved about bands like Jane’s Addiction and Smashing Pumpkins. A short while later, Miracle was going to be recording a new record, so Mike suggested that they use our studio in Queens to record some demos and that I could engineer them. The guys showed up one weekend and we recorded about 14 songs. From the time they walked in, I really liked everyone in the band. They were four different personalities, but they really worked well together and I really loved the music. After recording these demos, it turned out that they needed someone to record and produce the official record, so they asked me to do. We recorded it over some weekends and nights throughout the summer of 2002. 

Mike Stuto: I don’t think Kevin realized that his draw was big enough to make demands he didn’t make. It got to the point that the first band we’d call was Miracle, and if he knew the band on the bill he’d be psyched, and if he didn’t, he’d trust us. What made him special was a combination of having a good band, working hard, and a good relationship with promoters — you could tell he promoted his show. He was just the nicest guy in the world. He wouldn’t take a show without thinking first: he was always reliable.

Mike Skinner: We were drinking pretty heavily and doing other things, so it was a very wild time — blurry and frenetic. The first record done with Miracle was in a basement studio with Chris Bracco, and we were trying to capture the songs without losing the feeling of playing them live. It was effortless (all of our heads were in the same place) and it happened pretty quickly — maybe in about a week. I don’t remember anyone fighting, and we thought it was good enough to go on tour. The reunion shows we did reminded me a lot about how I remember that as an unblemished time for me.  

Chris Bracco: During this time, I learned that Kevin also recorded as a solo artist performing songs that didn’t fit the Miracle sound. When Kevin decided to record his next solo record, Make The Clocks Move, he asked Mike Skinner and I to produce it. We didn’t have much time to make this record, since Kevin had a solo tour lined up in Europe, so we kept it spare and we recorded and mixed it in about a week. This is something that we repeated on future records: record in about seven days, then mix them. At this point, I was really impressed with his songwriting. He had a great sense of melody and his chord structures and guitar parts were simple yet complex. He was also great at putting a lot of feel into his vocals. I also started to realize what an amazing guitarist he is. I don’t think he gives himself enough credit regarding his guitar playing. During down time he’d always be noodling with some Elliott Smith song and learning these intricate songs. I credit him for getting me into Elliott Smith.

Jesse Lacey (Brand New): I met Kevin in 2001 or 2002, and I only got to see him with Miracle once, and mostly I knew of Miracle of 86 because they were on this Fadeaway records comp that a couple of friends had put out, and I always associated them with being from somewhere that was vague and not New York City, or some of them were from Queens maybe, but some were from Connecticut or somewhere. I don’t know if that matters, but back then the matter of where your band was from always preceded you. And because I could never figure out where they were from, I could never figure out who they were.

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Manchester Orchestra Release New Song “Top Notch”

by Zack Zarrillo - Jan 20, 2014


Manchester Orchestra will be releasing Cope on April 1st. Stream a brand new song called “Top Notch” below after the jump.

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Say Anything Tease Guest Vocal Appearances

by Zack Zarrillo - Jan 13, 2014


Max Bemis of Say Anything has released the initials of the guest vocalists on the band’s upcoming release. Check out the teasers below after the jump.

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Manchester Orchestra Members Stream Three Solo Songs From ‘Friends’ Comp

by Zack Zarrillo - Jan 3, 2014

The Manchester Orchestra family have released three solo songs that will be appearing on the Fadeaway Records Friends comp, a 3xLP / 35 song release coming in February. Stream the songs by Andy Hull, Gobotron, and Alaska here via RollingStone or below after the jump.

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Fadeaway Records 10: Friends

by Zack Zarrillo - Dec 27, 2013


Fadeaway Records is back in action and will be releasing Friends, a 3xLP / 35 song vinyl compilation with possibly every single one of your favorite bands. The release will ship in February and go on sale this coming Monday. Check out details via AbsolutePunk here and the full track listing below!

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Brand New Perform “Play Crack The Sky” Ft. Andy Hull

by Zack Zarrillo - Sep 17, 2013


Brand New played Riot Fest this past weekend and had some help from Andy Hull to perform “Play Crack The Sky.” Check out the performance below after the jump.

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POZ Review: Manchester Orchestra, Frightened Rabbit, Grouplove - Collaborative Split 12”

by Zack Zarrillo - Apr 18, 2013


*This review was composed by Marc Gary Gray and edited by Erik van Rheenen

Andy Hull is an exceptional songwriter, and what separates him from many of his just “good” peers is his ability to write in such a wide breadth of styles and levels of aggressiveness without losing any amount of proficiency or sincerity. In collaborating separately with Frightened Rabbit and Grouplove on this release, one can juxtapose the variety of music that Hull is adept at creating (not to undermine the obvious contributions of the collaborating bands and Mr. Hull’s bandmates in Manchester Orchestra).

The Manchester/Frightened Rabbit track, titled “Architect,” is actually a collaborative effort between only the primary songwriters of the respective bands (and a song completed without the two ever meeting one another in person). Almost impossibly, the song manages to be both sparse and lush. The sparseness comes from the skeletal instrumentation and lack of percussion, while the relentless fingerpicked acoustic guitar riff provides the momentum and drive that often lack from a guitar-and-voice-only approach. 

As for the vocals, well…I know I can be prone to hyperbolic statements, but the vocals on this track are breathtaking. Scott Hutchison’s throaty, consistent delivery meshes perfectly with Hull’s nasal, loud-to-quiet delivery until each individual singer is nearly indistinguishable. The melodies and harmonies are sad and evocative without being mopey or obvious, and the song doesn’t linger, ending in a tidy four minutes. The most impressive part of this track is its balance: between the two songwriters, between the aforementioned fullness and sparseness, and between poetic ambiguity versus meaninglessness in regards to lyrics, “Architect” manages to walk the proverbial tightrope. 

As implied in the introductory paragraph, the other song in question is something different entirely. Opposed to the two-man show that was “Architect,” “Make It to Me” is a boisterous little ditty, complete with note-dragging synth riffs, a variety of vocalists, and a perfect combination of Manchester’s indie rock prowess and Grouplove’s dance-infused goodness.

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POZ Presents: The Weekly Content Round-Up

by Zack Zarrillo - Mar 11, 2013

POZ Interview: Kevin Devine + Andy Hull (Bad Books, KD, Manchester Orchestra)

by Zack Zarrillo - Mar 5, 2013


Kevin Devine and Andy Hull treat PropertyOfZack better than we could ever ask for, and they always give us incredible interviews. I was able to catch up with the duo at Bad Books' Philadelphia, PA tour stop for one of POZ's best interviews of all time. Kevin, Andy, and I discussed Bad Books' new found cohesiveness and success, all the details you could ask for for Kevin's Kickstarter campaign and two upcoming albums, Manchester Orchestra's reboot with a new split and album, and so much more. We couldn't be more excited about the interview and all the great details within it, so check out all of it below!

So this tour is going really well, it seems. This is the fourth tour for Bad Books right?
Andy Hull: 
Yeah. We did a few short ones so yeah, four. 

How many was it, like a thousand in Ohio?
Yeah its nuts, I think we could have done that easily in New York from what we were told; in New York and Philly and Boston as well. Yeah totally nuts. The reception is really cool. Nobody’s asking for anything other than Bad Books tunes. People are actually enjoying the songs. 

You can play a full set now, that’s awesome. No filler. 
There’s still plenty of bullshit, but yeah. 
Kevin Devine: It feels like the balance is… there is one. It’s definitely more… the bullshit is an accent, as opposed to potentially being the main thing. 
AH: Half if not more than half of the show…

I know that for the first record, or even for those first shows, there was always talk of, “This is really cool, but it still feels separated between two parties, rather than one band.” 
Dude it is so much different now. It feels like a real thing. It feels exactly like a real band. We’re all developing identities. It’s really cool because it’s going to be sweet to see what happens with the next record now that we have an identity. We all have things that we do in the band now. Rather than, “You do this. You play this.” There are members that are doing things. We can only go up from here. 
KD: I think an interesting thing about how that live experience can translate into that next record too is that in carving out those identities, I feel like even though it’s a band it’s been something of a studio project for us in the studio. Like me and you [AH] end up doing a lot. 
AH: Yes.
KD: And I feel like it’s nice to have that as an option. But I also think what this enables us to do in the comfort level we’re reaching here is that the next record can be more like a rock band playing songs; rather than building songs in the studio. 

There’s been some satellite radio play too, right?
 Amazing response there. Like the number one song the last couple weeks on there. 
AH: Yeah, nuts. 

Especially because it’s four months out since the release. 
 Yeah four and a half or so. 
AH: There’s two different ways a record can go, you know? You could put a shitload of promotion behind it and then have a really big first week and then everything will trail off, or you can try to do it organically where it will continue to grow and just steady as it goes. It feels like that’s what’s happening with this record. It’s starting to connect more and more the longer it’s been out. It’s cool. 

I assume you guys are going to be really busy this year. If the record’s doing well and tours are doing better than well, is that something that you now want to try to carve out more time for Bad Books?
 Yeah we were having that conversation last night. Like how it’s kind of…
AH: Short answer, yes we do want to. It’s just about making that decision. And hopefully finding some sort of time for it. It’s a timing thing really. I would love to do it more though, especially since it’s going better. 

Have you found that with this touring and the band being more cohesive, that you actually have wanted to do a record sooner rather than later?
 We haven’t really talked about that yet. We’ve talked a little bit about doing it, but not about a timeline for it. Because I don’t really know, realistically, what that would look like.
AH: That’s the thing is when we could do it. But yeah, I certianly am in my head, being on this tour like, “Yeah we should be writing and we should go in immediately and go make another record.” 

It’s a good problem to have.
Yeah. It’s a luxury problem; it’s awesome. 

In terms of Bad Books as a separate entity, do you think there are people now that are just Bad Books fans?
I kind of do. Or I kind of feel like there are people who are more… there are definitely people who like it of it’s own merit. And I think that maybe there are some who even like it more than they like either of our things. Probably not the majority. The majority is probably still kids that are coming from Manchester’s world and my world. But I think it’s built itself into it’s own formidable entity. It’s totally amazing, yeah. 
AH: It helps a lot that the second record is just such a… in my opinion, stronger album than the first record. The first record is kind of your perfect stereotypical first album for a band. It’s rough and a lot of loose ends. It’s going in all directions, we hadn’t really found out who we are. I’m stoked that we started with something that, you know, I’d saw was a three star record. I’d say this one is a four star record. Now we’re going to try to make a five star record. 

Will Bad Books be going to rest for now until there is more time?
Yeah I guess we’ll figure out what happens. 
AH: Hopefully going to try to play as many festivals as we can and get some… We’re down to work. And honestly working with Kevin is a lot easier than working on my own. Not that I’m working on my own with Manchester, but just being the sole front guy, it’s just half the work. It feels nice. 
KD: It’s totally noticable. It’s lovely. I feel like Bad Books tour is like… It’s still in a van and a trailer and all that stuff, but the fact that it’s other people doing this stuff sometimes, I’m like, “This is sick. Just hanging out while someone sells the merch… that’s amazing!” 

Are we cool to talk about prospecitve projects?
I really wish you wouldn’t… Yeah I don’t care. 
AH: What do you mean?
KD: Like Manchester and me. 
AH: Oh yeah.
KD: But I have to answer all of the Manchester questions and he has to answer all the the…
AH: That would be cool. 

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The Dear Hunter “Deny It All” Music Video Ft. Andy Hull

by Zack Zarrillo - Feb 24, 2013


The Dear Hunter have released a new live music video for “Deny It All” featuring Andy Hull. Watch it below by clicking “Read More.”

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Manchester Orchestra, Frightened Rabbit Frontman Working On New Project

by Zack Zarrillo - Feb 13, 2013


Andy Hull of Manchester Orchestra and Scott Hutchinson of Frightened Rabbit are working on a new project together that will see at least a single release and a possible LP. Check out what Hutchinson said below by clicking “Read More.”

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POZ Review: Bad Books - II

by Zack Zarrillo - Oct 22, 2012


Kevin Devine and Andy Hull are like coffee and ice cream. They do their job perfectly well in their respective mug and bowl. When mixed, however, there is a harmony of flavor unmatched by any melodic taste either could muster on its own. Bad Books II is the coffee ice cream of indie folk-rock (assuming coffee ice cream is the best of ice creams) and represents the band’s newfound taste for songwriting.

In comparison to their freshman, 2010 release, II is a collaborative body of work. The self-titled had a cohesive, thorough line in terms of its somewhat sad sentiment - no matter the voice singing, the instrumentation and lyrics had heaviness to them. Some of that weight has lifted, not in sonic nuances or “heaviness” but rather in that solid two dimensionality - Devine and Hull. What II introduces is the Devine-Hull collaborative process, and the tag teaming has affected more than lyrics.

"The After Party" and "No Rewards," for example, are connected in their dissonance. Whether it’s the chord progression, instrumental arc or the lyricism, there is a subtle quirk in the tracks over all that seems to have come from the collaborative process. "Forrest Whitaker" is so quintessentially Bad Books in its melodic choice, but the production and instrumental tones seem to have a different kind of life in them.

Synthetic instrumentation is an addition for the band that may or may not have come directly from the co-writing process. However, there’s something to be said for “rubbing off” - the sonic performance changing and taking unintentional turns.  Even on the solo writing projects, the lyricists didn’t take the “you bring 5 songs to the table and I’ll bring 5 songs to the table” attitude as they had in the past (check Bad Books’ bio for more of their writing process information). Each track feels as though it has taken a longer stroll on its way into fruition.

As a result, the album’s writing feels as though it has grown. In places where it could have been all-too reminiscent of the first release, it took a left turn. Tracks such as “Never Stops” and “Friendly Advice” harken to the 2010 release in its melodic choices, however the musical performance is a little fuzzier, a little more electronic. Elements of the 2010 track “You Wouldn’t Have To Ask” trickle in, but it feels as though the newer tracks have more time, love and care.

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POZ Road Blog: Bad Books

by Zack Zarrillo - Oct 11, 2012


Bad Books are out on a West Coast tour supporting II, their new release that is out now via Triple Crown Records, and it’s great, so you should pick it up here if you can. We’re very happy to be hosting a new video Road Blog from the band on PropertyOfZack that features music, footage from the tour, and clips of Andy Hull and Kevin Devine talking about the journey. Watch the video update below by clicking “Read More!”

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Ernie Ball