It starts off with something familiar. The intro “Genesis” is new but once it kicks in, it’s just like old times. It has some polish but it is still the tune you know and love. You’ll notice right away that while the songs contain most of what was recorded, you’re going to hear a whole lot more. Just because they left “Let There Be Lite” out of this recording doesn’t mean you won’t hear the chorus now and again throughout the album. Each track on this album has the foundation of the title, with bits of other songs masterfully sprinkled about. Two different † songs are thrown together and sometimes the albums are combined. Toward the end of “Genesis” you start to hear smattering of “Civilization,” which continues on throughout “Helix.”

AAA is a roller-coaster of an album. It starts off funky but then gets turbulent as “Phantom” kicks in. The track begins with a groovy blend of old and new but then shifts into that dirty sound that fans of their debut album know and love – especially when “Let There Be Lite” and “Civilization” are incorporated. To many, the pitfall of live albums is that the content is what you’ve heard before. If that normally detracts you, fear not; every song on this album is unlike what you’ve ever heard before, giving “New Lands” a whole new meaning.

The old standard “D.A.N.C.E.” is as good as ever, and this is arguably the best incarnation of it. As with A Cross the Universe, the one-two punch that made them famous is back. “Stress” and “Waters of Nazareth” are back in all their glory. While slightly shorter fares, these are mixes that stand up with the best of them, though the blending of songs falls short at a point during “Stress,” breaking up the intensity.

To finish up the album, you have far and away the best version of “Audio, Video, Disco.” followed by an encore of the funky “On’n’On” and the staple “Phantom Pt. II.”  This most certainly ends the album on a high note. While I can’t say this one will get you quite like it does on their first live album, this was the perfect way to close out the album, successfully ending any doubt that they’ve completely abandoned their old sound.

Those like myself who highly enjoy both studio albums will love this. It is a perfect blend of both sounds and is by-and-large a return to form. I can only imagine what it’s like to see this live. Overall, this is not their finest work, but you will hear the best versions of some tracks like “Audio, Video, Disco.” This is certainly the best electronic album I have heard in 2013 so far. My only complaint is that the album is so good I find the hour-and-twenty-minute run-time to be too short. Check it out.

The Scoop: Metalcore outfit Misery Signals has announced that they will be releasing their highly anticipated fourth full length album Absent Light on July 23rd. You can check out the record’s artwork below.

The Spin: After an extremely successful Indiegogo campaign, and this now officially marking the band’s first full length album in over five years, the expectations for this record aren’t exactly low. With the release date set at just over two months, fans should expect a single within the coming weeks.

The Question: Did you contribute to the band’s campaign? Will you be picking up a copy of Absent Light when it drops later this Summer? Let us know in the comments below!

Have some news of your own? Spill it!

The Scoop: Progressive rock outfit I The Mighty is currently premiering a brand new song titled “Echoes” over at AbsolutePunk. The track comes off the band’s debut full length album Satori, which is due out June 11th via Equal Vision Records. You can listen to the new song here, or check it out below.

Click here to view the embedded video.

The Spin: With two songs now officially released, Satori is shaping up to be an extremely impressive debut release from the boys in ITM. While not as head-turning as the album’s first single “Speak To Me,” “Echoes” still does its job in creating even more hype for the full length. Well done, I The Mighty, well done.

The Question: What do you think of the new song? Will you be picking up Satori when it hits the shelves in a few weeks? Let us know in the comments below!

Have some news of your own? Spill it!

For starters, the use of muted trumpets, saxophones, and rag-time piano parts is FREAKING AWESOME! I just cannot get over how bouncily the beat of the “Crazy in Love” remix (courtesy of  Emeli Sandé and The Bryan Ferry Orchestra) makes me dance; nor can I stop obsessing over the snappy swing of will.i.am’s “Bang Bang” and the restless energy that it instills within me. Keep in mind, this opinion is from someone who doesn’t dance. The music is just that infectious, and I attribute this in part to its expert mix of modern electronic beats with older, acoustic instruments. Listen to the beautiful, prominent banjo appearance in “Love Is the Drug,” as well the trumpets and saxophones peppered throughout tracks like “A Little Party Never Killed Nobody” and the piano stylings of “Where the Wind Blows.”

However, a huge element of the soundtrack is its use of modern musical forms to frame the throwbacks, however awesome they may be, and capture the audience through its cultural immediacy. Two tracks feature Jay-Z (one of which includes Kanye West) rapping over driving, modern beats without musically alluding to the era of the film. Also, in “A Little Party Never Killed Nobody,” performed mainly by Fergie, electronic blasts and an undulating party beat slither forward with only minimal nods to ’20s instruments. These types of moments are used to great effect in the film, tilting the Jazz-Pop combination toward the contemporary side in order to convey the feel and atmosphere of the scene.

The third major element of this soundtrack is the melancholy ballads, of which Lana Del Rey’s “Young and Beautiful” is the most prominent. These soaring, brooding songs provide the feeling of conflicting sadness and hope that is prevalent in Jay Gatsby’s story, and they serve as potentially the most lasting moments on the album. My personal favorite is “Kill and Run” by Sia; listen to those absolutely sexy chord progressions and tell me you don’t feel something. Also, check out “Over the Love” by Florence and the Machine, as well as Lana’s track and you’ll be feeling the movie whether you’ve seen it or not.

Overall, I think this album is an incredible synthesis of distant musical ideas. As someone who appreciates musical mixing, I look at this soundtrack and see new horizons being reached, new emotional heights achieved, and something fresh that everyone can enjoy. While some of the tracks lack the substance and length that I would personally enjoy, I think that this album is an amazing work of exploration, and I highly, highly recommend it.

The infectious repetition of “We Can Roll” starts the record off on a high note. The soft harmonious sounds lead into a thunderous chorus as lead vocalist Dua Boakye’s explosive falsetto sets the mood for the rest of the record. Boakye belts, “We can roll/ we can ride/ we can roll/ just for tonight” with a passion that lets the people know the group is dressed to impress. “We Can Roll” marked the first of four singles that were released to help hype the album up before its May release, all complete with their own assolicious cover art to boot. Though it ended up being the weakest of the set, it still did an excellent job of setting the stage for how the new material would be perceived.

The winner of the singles, however, would have to go to “Can’t Fool Me” or “Doin’ It,” both of which shine for different reasons. The former draws the listener in with excellent bass work from the fantastic Graham Masser and a radio-friendly fizz that’ll make anyone move. “Doin’ It” comparably has an appropriate bouncy vibe that makes for the best flowing track on American Love. That’s not to say that final single “Fall in Love” isn’t without its obvious charms. The song is a trippy odyssey in the mindset of every man, and how the opposite sex can bring them to their knees. The hook is enormous once the chorus kicks in, showcasing one of the undeniable qualities that Bad Rabbits possesses: writing hugely impressive pop songs that are too cool to be overplayed by the mainstream.

The singles aren’t the only praise-worthy moments on the album, however. Some of the brightest moments come from the deep cuts. “Dirty” runs rampant through the streets of fiery NSFW disco, while “Get Up & Go”‘s space-techno intro only further entertains the assumption that the band is out-of-this-world good. Sure, the talkative intro of “Take it Off” may be a little off-putting, but minor flaws aside, there’s not a lot to gripe at when it comes to American Love – its strengths are more than enough to outweigh its imperfections. Given the amount of blemishes found in standard American pop radio, it’s easy to tell that Bad Rabbits is the real deal – a consistent R&B/pop act that genre-jumps without skipping a beat…not to mention one that brings a helluva party that you won’t want to end.

Needless to say, Bad Rabbits is putting the “fun” back in “funk.”

Check Out: “Can’t Fool Me,” “Dirty,” “Doin’ It”

For Those Who Rock:
Rick James’ Street Songs
Earth Wind & Fire’s The Best of Earth Wind & Fire, Vol. 1
Gym Class Heroes’ The Papercut Chronicles II

On May 25th, 2013 (i.e. this coming Saturday) over 65 bands and hundreds of music lovers will pack themselves into the Hartland Performing Arts Center in Howell, MI for one of the area’s largest and best music festivals. Fusion Shows’ annual Bled Fest has been showcasing some of the nation’s best alternative/hardcore/emo acts, as well as giving Michigan locals a place to perform to a larger audience for the better part of a decade. However, with so many bands playing the festival every year, it can often feel daunting to have to sort through such a stellar lineup. Fortunately, we at Mind Equals Blown are here to make the task a little less overwhelming, highlighting ten of our favorite acts that’ll be gracing the festival this weekend.

Andrew WK - Landon Defever

Of course, the most obvious recommendation comes first. The master of everything party, Andrew WK will be performing a solo set, and it’s without question one of the strongest flashes of brilliance found within the Bled Fest lineup this year. The performer / TV host / motivational speaker / bloody-nosed party-starter has been cranking up amps and getting crowds moving ever since his fantastic album I Get Wet was first released back in 2002. Fresh off a reissue of the classic record, WK’s performance is sure to be brilliant.

Cerce - Jason Gardner

As far as smaller acts go, the classroom stage performance of Cerce is going to be one you’ll want to take in. The female-fronted hardcore act will be gracing Bled Fest with pummeling riffs and a vicious brand of hardcore that just seethes with emotion. Don’t sleep on this band.

Flint Eastwood – Landon Defever

Born and bred in the heart of Detroit, indie-dance rock quartet Flint Eastwood are quickly making a name for themselves in the alternative local scene in their home state of Michigan. As local heroes to anyone who’s had the chance to check out any of their exciting live sets, they have quickly hit their stride over the past few months. With a midday spot on Stage C at Bled Fest (supposedly to be attended by Bled Fest co-headliner Andrew WK), as well as a gig opening up in Common Ground for the almighty MGMT, things are looking happily optimistic for this exciting act.

Giraffe Attack – Landon Defever

In a lineup chock full of the scene’s best and brightest hardcore, emo and pop-punk bands, there’s one genre represented on the Bled Fest list that many wouldn’t expect coming: hip-hop. However, one band stands alone in showcasing this genre in 2013, and that would be Brighton, Michigan’s Giraffe Attack. Though they are well-known in their neck of the woods for the equal parts politically charged social commentary and lunacy-driven self-referential humor they include in their songs, the quintet is setting their sights on spreading the word of their music as well as their spirited, energetic live show.

Masked Intruder – Landon Defever

Don’t be alarmed by their masks or threatening demeanor – the fellows in Madison, WI’s Masked Intruder are some of the most charming criminals you’ll find around. With a  debut album full of lovelorn fantasies and questionable behavior, they take what could have easily been written off as a gimmick and use it to their advantage, producing one of the tightest and most accessible pop-punk records of 2012. After their performance, you won’t be able to deny the charm that Masked Intruder provide.

Pianos Become the Teeth – Nick Niedzielski

As far as emotional intensity goes, it doesn’t get much better than Pianos Become the Teeth. Their jarring style of post-hardcore hits the listener like a sledgehammer, with waves and layers of distorted guitar rushing over you. Vocalist Kyle Durfey’s highly personal lyrics are tragic and heartbreaking, and his grating delivery creates an incredible contrast of melody and aggression. But as good as they are on their albums, it’s Piano’s live show that really cements their status as one of the top bands in the genre. Their live show showcases everything the band brings to the table and more, seamlessly translating that signature sound from their records while not losing a single ounce of the power that makes them so special.

Pity Sex – Jason Gardner

I remember someone mentioning Pity Sex on a social networking site in the lines of that we better enjoy them before they break up like most good emo bands. Well gang, we’re getting a full-length soon, and the band’s inclusion at Bled Fest is part of a stacked emo lineup. Ann Arbor’s rising stars are certainly starting to make a name for themselves, so be sure to check them out and get sad for a few minutes.

State Champs – Nick Niedzielski

For any unabashed lover of everything pop-punk, State Champs are an absolute must see. They are definitely a rising star in the genre, as exemplified by their stellar 2012 EP Overslept. Their simple, straightforward style of pop-punk is somewhat of a throwback but still feels fresh and new. State Champs’ infectious melodies, brought on by vocalist Derek Discanio, are what really make them stand out, as Discanio’s vocals are some of the strongest in the scene, equally balancing a truly remarkable singing voice with just a touch of grit. Having just finished recording their highly anticipated debut full-length with Sam Pura, the band will hopefully have some new material to show off. You will definitely want to check State Champs out now because these guys are poised to blow up in the near future.

Wilson – Landon Defever

Hometown heroes don’t come in much better flavors than the full-blast fuckery that Detroit’s own Wilson provide their audience. Sporting a Southern twist on a Midwest favorite, they flaunt the hardcore sound of acts like Every Time I Die and The Chariot with a live presence that’s just as excellent. Fresh off of a brief stint opening up for Gwar, the band recently signed to Easy Killer Records with a new record coming out in early July. Prepare yourself, Bled Festers – nothing can prepare you for the visceral onslaught that Wilson will give you.

The World Is a Beautiful Place & I Am No Longer Afraid to Die – Jason Gardner

We can have a collective sigh for the leak of TWAIBP’s debut full-length Whenever, If Ever. Now that that is done, can we talk about how awesome it will be that we’ll be hearing some of these jams live at Bled Fest? As much as I feel for the band and whatnot, the album is truly great – and having heard it has made me even more excited for my head to get lost in spacey guitars and noodle-y synths.

To see the full lineup and buy tickets, go to BledFest.com for more information.

The Scoop: Self-proclaimed trapcore outfit Falling In Reverse has released a brand new song titled “Fashionably Late.” The single is the title track off the band’s upcoming sophomore full length album, which is due out June 18th via Epitaph. You can check out the new track below.

Click here to view the embedded video.

The Spin: In order to retain our dignity and help to not stir the pot anymore than it already is, we’re just going to simply state that some things are better left unsaid. Now, with that being said, and while there still hasn’t been an official statement from anyone involved, Epitaph releasing this song all but puts to rest the rumors of Ronnie walking out on the band that were dominating the airwaves of the web this past week.

The Question: What do you think of the new song? Will you be catching the band’s set on Warped Tour this Summer? Let us know in the comments below!

 Have some news of your own? Spill it!

The Scoop: Pop punk outfit Real Friends has released a brand new song titled “Late Nights In My Car.” The track comes off the band’s upcoming EP Put Yourself Back Together, which is due out June 4th. You can check out the new song below.

Click here to view the embedded video.

The Spin: The boys in Real Friends are building a consistent reputation of not being able to disappoint – and “Late Nights In My Car” essentially solidifies that proposition. A sad song with an underlying meaning of dissonant hope, the track is everything fans have come to expect from the band. And that’s not to mention everyone’s favorite consistent sleepy eyes and boney knees references.

The Question: What do you think of the new song? Will you be picking up the new EP when it drops in a few weeks?

Have some news of your own? Spill it!

I don’t like using hyperbole in my writing, so here goes: Kanye West is the greatest artist of our time.

There. I said it.

I have the proof, too: ask around and many fans will point to his stellar debut, The College Dropout, and how from there every album he released has come at a turning point in his life, allowing us a unique picture of the man’s evolution as a human and an artist. Reviewers will heap endless praise on his groundbreaking 808s & Heartbreak, the album that set off a whole subgenre of introspective emo-rap that gave Drake and Kid Cudi their starts, and on My Beautiful Dark Twisted Fantasy, an existentialist prog-rap masterpiece that was recognized as a rap classic within two years of its release. Industry insiders and marketing goons alike will fondly recall the legendary sales battle between West and 50 Cent in 2007, and how Graduation’s sales triumph over Curtis represented a fork in the road for hip-hop music, where the thinking man’s artist won over the gangsta rap that had dominated the airwaves since the days of Ready to Die and Illmatic.

But when it comes to Kanye being the defining voice of a genre, all of these things are true, but none of them are correct. For proof, I encourage you to pull up Google right now and search for “Black Skinhead” and “New Slaves.” This time last month – hell, last week – God only knows what sort of racist propaganda the Internet would have pulled up for you. But now, Google those two phrases and you will get an insider’s glimpse of how Kanye Omari West is changing the world of music before our eyes.

Before last week, it was unthinkable that out of the blue, an artist would premiere his face on 66 buildings around the world, delivering his message with all the stoicism of a surgeon in the operating room while Frank Ocean crooned in the background. Before last week, nobody had ever gone on stage at Saturday Night Live and growled their curses like a jungle cat so that the censors couldn’t catch them. Before last week, songs like “Black Skinhead” and “New Slaves” would have been eschewed, even eviscerated; now they’re almost espoused, even idolized. Before last week, popular artists – Fall Out Boy proving an exception to the rule, depending on who you ask and what you define as popular – don’t record entire projects in secret to prepare for their bombastic return to the music scene.

But on Friday, Kanye West showed his face to the world in the most literal way possible – on three continents and across a dozen cities. He brought his message with him, gift-wrapped in a menacing, nihilistic hiss that was only subtly hinted towards on MBDTF, and the music world watched in a rapt fascination and horror from the moment his visage blinked into life to the moment it faded away. Why?

Because the music world isn’t ready for Kanye West’s mind.

The signs have always been there, when you think back. Remember his epic Twitter rant on the use of the word “bitch” in songs? Remember a little further back, when he announced his sprawling think tank DONDA, the organization that has put together some of the greatest and most artistic album covers of the past year? Remember his budding career as an art house director? How about the seven-screen movie experience that came with the otherwise mediocre Cruel Summer project? Remember when he named his record label G.O.O.D. Music?

But nobody – not his fansites, not music blogs, not even rap contemporaries – read the signs in the stars deeply enough to predict the way he premiered “New Slaves,” or the way he got on stage at “Black Skinhead” and the sinister, Marilyn Manson sampling beat blended with the yelps of police dogs in an angry cacophony that sent the Internet buzzing before the first song was even over. Nobody thought that even the great bohemian Kanye West, with his hot air balloon ego and his flamboyant fashion sense and his spectacle of a personal life, could possibly take the time to record a proper follow-up to his 2010 rap opera, let alone in secret. Saturday night, in front of an audience of millions, Yeezy stormed the stage once again and sent a message to the world, a sort of backhanded response to the doubts and the criticisms: it happened.

Saturday, Kanye growled and hissed and screamed and rapped lyrics that were at times poignant, at times tongue-in-cheek witty, and at times plain undecipherable. What could be understood was powerful and dark. From the scornful high society rant on “New Slaves” (The sinister end note “Y’all ’bout to turn shit up, I’m ’bout to tear shit down! I’m ’bout to air shit out, now what the fuck they gon’ say now?” come to mind) to the nearly tribal-sounding grunts of “Black Skinhead” (“They see a black man with a white woman at the top floor? They gone come to kill King Kong.”), Kanye arrived on stage like a Sidewinder missile, dressed in a scoop t-shirt, leather jeans, and plenty of good old-fashioned fucking rage.

He didn’t censor that rage, just like he refused to censor his message. I watched SNL with my mom live Saturday night, and we kept a slow, silent count of how many curses Kanye could string together in a roar before the censors caught up with him. Both times, the intense, sometimes borderline frantic rapper outwitted NBC’s quality control filter; though sometimes nearly invisible behind the bulldozer-level force of his performances, Kanye was clearly the mastermind behind the production, the phantom of the opera who appeared when it was convenient and disappeared when he was unneeded. It was art, pure art, and it hit everyone who watched like a ton of bricks. For a few seconds after he finished each song, the music world was silence.

Then it exploded.

In the past, even the seemingly raw, primal world of hip-hop has been censored. Album titles have been censored when considered too edgy, covers have been edited and removed (even Kanye was subject to this with the now-mythical cover of Fantasy) and entire verses and songs have been buried in the annals of controversy. But not Kanye, and not anymore. It’s because beneath the fabled ego, beneath the publicity around his relationship with Kim Kardashian and his upcoming child, beneath the onstage rants and the facepalm moments, and beneath all the scattered rough edges that make him up, Kanye’s smart. What’s more, he’s an artist. He’s the first artist of the modern era to realize that the music world can’t really stop him from getting his message out there. What executive in their right mind is really going to put an entire Kanye West album on the shelf, even one called Yeezus which focuses almost entirely on class and race warfare? What other rapper will draw a line in the sand and say that Chicago’s hometown hero has finally gone too far? Who will be “that guy,” the one who looks at Kanye objectively and says “that is not art” like every snarky teacher that you’ve ever had from kindergarten to college?

Nobody will, because when you say that limit exists, then you limit yourself and you limit everyone who comes after you, and in the end that does exponentially more harm than good. Kanye’s smart enough to know that, so he keeps pushing and pushing and pushing, until finally he drops something like “Black Skinhead” or “New Slaves” in front of an unsuspecting world. Changing the game is nothing new for the man who has done it with six albums in ten years, but something about this past week was different. It had an odd sense of finality to it, almost like he was saying with that typical Kanye smirk that this is the time. That this is where his legacy starts. That after this, nothing anyone does will ever be the same, just because it’s not by Kanye.

Saturday night, for the first time in lifetimes, the question wasn’t what an artist’s message can do to help further art. It’s what art can do to keep up with the artist’s message. That’s a high standard to live up to for any man.

It’s a good thing that the man in question happens to be the greatest artist of our time.

So your most recent album, Could You Watch Your Children Burn, was released this past January. How do you think it has been received?

Josh: It’s going pretty good, we can’t complain. We’re gaining a lot more fans than we had before it.

Landon: It seems to be catching on slowly. Every tour we notice kids are getting into the newer songs as opposed to the older songs. I’m definitely happy about that.

Your previous album First Born was based around the concept of a child abuse victim. Does Could You Watch Your Children Burn contain any sort of theme?

Landon: I wouldn’t say there is a theme, but there are a few songs that revolve around the same idea. Like “Bible Butcher,” “Fiction Religion” and there’s one other that talks about religion. That was like the theme with the artwork, the burning Bible obviously. But overall every song has its own meaning. A lot of them were written months apart at different time periods of my life, so I just decided to write about what I was going through at that current time.

What are your favorite songs off the album and your favorite to play live?

Landon: My favorite recorded is population control but my favorite to play live is probably “Shyann [Weeps].”

Derrick: I like “Troll.” “Troll” is fast.

Josh: Yeah “Troll” is my favorite to play, it’s different from all the other songs we play live and then “The Devil’s Contract” is my favorite overall.

You use sound effects throughout the album, such as at the end of “Digging Your Grave.” Can you tell me a little bit about their purpose and how you feel they are effective?

Landon: Like you said, they’re there throughout the entire record. Like there’s that one of the woman – she’s talking about religion and stuff – that I took from some satanic preacher that I found on the Internet. She said some really crazy shit that went with what I was trying to say. And then for the song “Digging Your Grave,” it’s obviously about hating someone and wanting to do bad things to them, so it [the sound effect] just felt right I guess. But it was fun to record the different sounds. I spent a couple days just recording different weird sounds to put in the record, like throwing trash cans against walls to get boom sounds. I have a studio back home so it was just easy to experiment with that kind of stuff as much as I wanted to.

Landon, before forming The Plot In You, you were originally a part of Before Their Eyes which was identifiably a Christian band. You now have songs such as “Fiction Religion” that contain nearly anti-theistic lyrics. If you don’t mind me asking, what brought about this change?

Landon: To be completely honest, I joined Before Their Eyes not even knowing they were a Christian band. It was just kind of a stepping stone for me in a way. I guess back at that time, I would have said that I was a Christian to certain people, as shitty as that may sound, just to uphold the image that they [Before Their Eyes] started. But as we went on, we really became just a band rather than a Christian band. Like if you listen to our last two records, a lot of the songs have nothing to do with religion at all. They were about girls and dumb shit like that. They were really pointless and meaningless and put a bad taste in my mouth as far as the whole Christian image went. I saw a lot of people from Christian bands do things that like, I mean if I were to be going out and calling myself that, I would have… you know what I mean? It just shed a lot of light on shitty people. That’s something I felt very strongly against. I didn’t want to be fake so I was like, “I’m going to start my own thing, write the music that I want to write.” Through that time and obviously over the years, I’ve dug deep into religion and analyzed it for myself, because I have always just been in the middle somewhere, and I realized that it’s not for me at all. So yeah, that came through in my lyrics.

Landon, around the time your album was released, you tweeted that the song “Digging Your Grave” is about Of Mice & Men frontman Austin Carlile. Any coincidence that you’re on tour with Attack Attack, another band that is not a big fan of his?

Landon: That is kind of weird. I honestly haven’t even thought about that. But yeah, I forgot he was even in this band. Whenever we first got the tour, I was hoping that Caleb [Shomo] was on it actually because I’m a big fan of his vocals. But yeah, that is kind of weird now that I think about it.

I know you said in your tweet that he’s never going to know why the song is about him, but would you be willing to briefly touch upon the conflict?

Landon: We grew up in similar areas. We were friends for a period of time and I saw things and witnessed things through being friends with him that I think are awful. Anyone that knows him pretty closely knows that he is not that person that he tries to present himself as and I’m just not about fake people. That’s pretty much it.

I also saw on your twitter that you guys were hosting a competition for the fans. Whose idea was that, how do you feel it went, and will you be doing more of this in the future?

Landon: That was his idea (points at Josh).

Josh: Yeah, we were just trying to get more publicity to the twitter and stuff. Just to hype up our band name more on the Internet. Just to help us out and do something for the fans. We’re going to try to be more interactive with our fans online.

Attack Attack’s “Fuck it We’re Done Tour” will be over soon. Do you have anything in store yet for after it ends?

Landon: We’re going to Europe in September and then possibly Australia after that. We’re still waiting to find out. We actually just got news on a Fall tour that we’re really stoked about. We can’t say what it is yet, but it will be really sick.

Can you tell me anything about it?

Landon: I don’t think we can because we literally just found out about it. I don’t want to say something and get in trouble. There are a couple of bands on it though that I personally like so it should be cool for sure.

What have the highlights of this been tour so far?

Landon: We have a lot actually.

Derrick: Every night has been really awesome.

Josh: The weather has been nice.

Derrick: The weather, yes!

Landon: When the weather is good, the whole tour just seems to be happier and brighter, you know what I mean?

Derrick: Yeah, when it’s not raining and snowing and fucking cold every day.

How do you feel about all of these chickens out here?

(Everyone laughs)

Landon: It’s pretty sweet.

Derrick: Different.

Landon: There are certain areas that I’ve noticed in the country that are like infested with cats and wherever we were last night, there were dogs, stray dogs everywhere.

Derrick: Today is chickens.

Landon: And I’ve seen rats in like New York and shit so yeah, it’s cool to see a different kind of infestation everywhere you go (laughs).

You released your latest music video (for “Fiction Religion”) about two months ago. Should we be expecting anything new from you in the near future?

Landon: As far as music videos go, I’m not sure. We’ve tossed around ideas for different songs, like stuff we want to do, but nothing is set in stone. We’re pretty much just going to start writing as soon as we get home, plan out the rest of the tour season until next year and hopefully have another record out later next year.

Thank you so much for your time! Is there anything else you would like to add or say to the fans?

Landon: Check out our new record. That’s it pretty much.