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End of a Year

Lire cette interview en FRANÇAIS FR

I still haven't understood if the band I've just done an interview with is called END OF A YEAR or END OF A YEAR SELF DEFENSE FAMILY. Anyway, this band specifically has been the most prominent for me this year, especially since the release of its tremendous new record "You Are Beneath Me". I wanted to know a little more about these young men, therefore I asked a few questions to vocalist Patrick Kindlon.

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rose Could you please introduce the band ? It would be great to introduce your own person as interviews are, in my opinion, concretely done with people and not bands.
I’m Patrick. I sing for END OF A YEAR SELF DEFENSE FAMILY. The other members really enjoy their SLIPKNOT style anonymity so I won’t expose their true identities.

Where are you from ? What do you like the most in the town you’re from and why ?
We’ve always said we’re from Cohoes, NY because it’s the only town any of us have had a permanent residence in. It’s literally a dump. There is a landfill on its border and the town is known as a place where lower-income whites live. That said, there are nice parts and the place has a character all its own. I currently live in Los Angeles for work reasons, with the other members spread across New York City, Albany, Glens Falls, Philadelphia, Taiwan and probably some other places I’m forgetting. We’ve decided to do away with the traditional model for band structure. We are now a cell colony. We grow and take on new members as needed.

Is there something you really dislike when doing interviews ? And do you think interviews have a serious potential to ruin the secrecy that a band and his members should keep ?
I like interviews. I hate secrecy and find it embarrassing when bands try to maintain an air of mystery. With this band, I’m trying to express myself fully. I’m not keeping the cards close to my chest so the band can get write-ups from music press people who need a « mystery » to justify interest in a band. I think people who aren’t in bands sometimes don’t understand what a crock of bullshit all that is. When you open a music magazine, understand you aren’t being exposed to the most interesting or engaging artists. You are being fed a combination of « stories » and promotional material. A friend of mine works at a large independent label and he describes his job as the following: « Selling stories of good-looking bands to overweight girls with self-esteem issues. » And that pretty much sums up the cynicism of the music industry and music journalism. Those stories, about how a band overcame adversity, or worships Satan, or whatever, are all part of a promotional effort. Some of it is true, some of it is false, but none of it reflects reality in terms of how it relates to the actual MUSIC. I like interviews. Avoiding them or speaking in riddles is silly and makes grown men and women look like little kids playing dress-up.

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In the many pieces of advice you give in the intro of « You Are Beneath Me », you encourage people to work part time. I love this cause I do work part time myself and I feel it gives me more freedom and more opportunities in my everday life to get closer to something that would feel or look like happiness. I suppose your words are not to be taken too seriously but…do you actually work part time ? And what are your views on work in general ? Is doing END OF A YEAR for instance an activity involving work ?
When the record was written I was working part-time. Currently I work as a sort of consultant and I don’t keep track of my hours but base pay on work completed, so I couldn’t say exactly how many hours per week I work. I like work, but I think I should clarify that statement to mean I like work that thrills me. My current job is different every day and even if I don’t care for an individual day’s workload, a new challenge always beats one I’ve conquered. On the side, I work to fulfill my personal ambitions with the understanding that one will supplant the other in time. I like my current job, but work towards creating a job I love. EOAY SDF is work in some respects, but I’ve worked on a farm and anyone who can compare booking shows to shoveling shit has never done the latter. People in bands who act like being in a band is real labor should try picking strawberries for twelve hours.

Where do you situate your band ? Is it a punk band and a part of a specific scene ? I’ve noticed more and more bands try hard to keep distant from any scene, probably to claim some sort of independence or to avoid being associated to certain people, groups or phenomenons they wouldn’t feel comfortable with. Is that your case ?
I don’t really think about it very much anymore. I think there was definitely a time when I did think about it, but we’ve been around long enough now that people should understand we do what we do. I don’t care for bands that exist just to extol the values of the scene they’re tied to, so we’ve never been one of those. But I’m also not particularly scared of other peoples’ classifications. I read we were a pop band in a recent review and that rankled me for a moment, but then I remembered the reviewer writes for a metal blog with a third-grade reading level and to his ears we probably really are pop. All that shit is relative. Try telling a person without any subculture background that you’re in a punk band. They think you’re in RANCID and wonder where your green mohawk is.

END OF A YEAR is often assimilated to the Revolution Summer era. Is this constant comparison annoying to you or rather flattering ? And how did these bands influence you ?
At this point it’s a bit annoying. I think we’ve written two songs that actually sound like something that could have come from that era. Which, I guess is more Revolution Summer songs than Slayer has written, but it still doesn’t classify as that sort of band in my mind. I blame the name END OF A YEAR. I think if we had called ourselves « We Who Are Not As Others », people would be calling us a SEPULTURA inspired band even with our current sound. People just like to file things.

Is there something related to END OF A YEAR that you’re obsessed about ?
I love that we pursue every weird thing we want to do. In that way the band reflects my life perfectly. I don’t think the casual listener understands that part. The band is my life, not in the respect that I live for the band, but in the respect that it mirrors my life exactly. I live to do weird shit. It’s the only thing that interests me. We started writing songs for other bands this week. We’re writing songs and giving them to other bands. Why? Because it seemed like a fun challenge. We started writing our four-part series « Music to Fuck To » this week. It’s music set to rhythms that will aid lovemaking. Why? Because it’s fun. I love weird shit. I don’t understand these bands that write an album a year, tour, and that’s the extent of their creative output. Do they not love weird shit?

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While flipping through records at a store, I once came across a 7inch from a folk artist called ANNI ROSSI. Surprisingly, the front cover strongly reminded me of the « Sincerely » one. Same typography, same kind of pictures. Correct me if I’m wrong, but the « Sincerely » front cover was already an allusion to LUNGFISH. So my questions are : how close do you think your band is related to the aforementioned artists ? And how important is it to pay tribute to other musicians and bands and to share your musical references ?
« Sincerely » doesn’t have an immediate reference on the album art, but is certainly in a line of indie records that pull from the family photos of the bandmembers. Not a terribly original idea, but everyone, myself included, believes THEIR family photos are worth putting into print. « You Are Beneath Me » has album art similar to a LUNGFISH record. We noticed immediately, but decided to run with it because if there is any band I feel comfortable paying tribute to it’s LUNGFISH.

Hardcore and punk seem to have always been subcultures where dress codes are of major importance. For instance, John Stabb of GOVERNMENT ISSUE used to dress in a very subversive way back then, by wearing the cheapest and the worst looking clothes he found, and nowadays kids that are the most focused on the way they look seem to blindly adopt new trends, mostly to look like and get accepted by their peers. Can you still see any subversive potential in appearance ? Are you concerned about the way you dress or the way you are looked at as a band and as individuals ?
We fail utterly on the clothing front. We are average looking dudes who will wear whatever we can get for free. I might try to get us suits for our UK tour just because the opportunity seems to be there. At the same time, we’d just as soon wear t-shirts. Clothes have never been a huge priority in my life. I try every-so-often to update my wardrobe and look a little sharper, but I often fall right back into looking very « normal ». As far as being subversive, I don’t think my clothes can say anything my mouth can’t say better.

You guys seem to embrace one new and trendy media, in other words blogs. Can you tell me a bit about yours ? What do you use it for ?
We love all that shit, provided it’s easy to use. I love twitter, blogs, youtube, all of it. Why? Because it’s fun and people who are hung-up on what it means for a band to use these things need to get real concerns. I’m old enough to remember when having an email address attached to your band was weird. All that shit changes as the world changes. It can be garish when bands use those technologies in tacky ways, but anyone who knows this band knows we do things that are fun.

« Is there any good idea lame assholes won’t steal ? ». That is the question ! Well, I’m an asshole to steal one of your lyric lines and use it as a question for the interview. But yeah, could you comment on this one ?
It feels like anything worth doing has already had its value diminished by some jerkoff taking the idea and running it into the ground. Like in the US we’ve got a number of bands using electronic sounds in conjunction with traditional rock instruments. This idea sounds natural and should fall in a heritage that includes BIG BLACK and ATARI TEENAGE RIOT, but instead these new bands only reference each other and the result is a music movement that is more akin to a bowel movement.

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You left Revelation Records and joined Deathwish Records to put out the new record. What were the motives of this change ?
Revelation wasn’t interested in working with us any further. The man who had signed us and advocated for us moved on in his career and we were left with a label that didn’t like us. It was disappointing because for a moment it seemed Revelation could be a thing people cared about again. I still fail to see their rationale in treating a small label with a mixed reputation as if it were Warner Brothers, but I’m sure there are factors behind the scenes I’m not aware of. Deathwish on the other hand actually LIKES our music and that is their primary concern. They need to sell records and that’s an understood between both parties, but they get excited when we’re excited. That has value. The thing I don’t think many labels understand is that if you come at ANYTHING with a positive attitude and worthwhile motivation, your long-term yields are stronger. Right now, Deathwish doesn’t make a ton of money on its relationship with EOAY SDF, but by supporting a band such as us Deathwish establishes itself as a label with a real passion for music. This will benefit them in the future when bands more successful than EOAY SDF see Deathwish as a label that shares their values and supports art. SONIC YOUTH made NIRVANA possible. Now, I don’t presume to call us SONIC YOUTH and I don’t know that Deathwish will ever get its NIRVANA, but the idea carries over. Not everything needs to be immediate. The « value » of some relationships is decades in the making.

This is a question I ask at every interview. Could you please list the 5 best records you’ve listened to in your life and leave a short comment for each record ?
LUNGFISH - « Sound In Time ». I could’ve chosen any LUNGFISH record, but this one has the most « hits » on it in my mind. Every song resonates against your guts.
STIFF LITTLE FINGERS – « Go For It »…is everything about punk I like with few of the trappings I hate. Not quite smart, but not straight up puerile either.
MINOR THREAT – « Out of Step »…because there is no album that encapsulates being an alienated teen better. Other records try but trip over the affectations instead of embracing the rawness.
ELVIS COSTELLO – « Armed Forces »…catches COSTELLO when he was still pissed, but he’s more eloquent here than on previous efforts. Great middle ground for an album and it catches me off-guard every time I revisit it.
108 – « Threefold Misery »…is the logical endpoint for that era of hardcore. Everything after this had to channel energy into being the « heaviest » or « most chaotic » while this album was and is the all-around champ. I need to sit down just to listen to it.

Thanks for your time, this is the end of the interview! Would you like to add something?
Thanks for the interview. People at home who may not have taken anything else from my rambling should leave with the following: The Sun is going to eat the Earth. Prioritize accordingly.
Skartnak.com

Interview : Bastien

Plus d'infos :

Label : Deathwish Inc. Records

MySpace : www.myspace.com/endofayear

Site Web : Pas de site

Site du label: www.deathwishinc.com


Interview cliquée : 36800 fois



Chroniques du même artiste :

End of a Year

End of a Year

"You Are Beneath Me"


Date de sortie : 2010

Note: 5/5

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Liste des commentaires :

bastien

D'accord...

Posté le : 05.12.2010 à 13:20

Kevin

Yeuah!

Posté le : 01.12.2010 à 18:14

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