So why the long delay in posts this time? Have I grown tired of wallowing in my own crapulence? No, I've just been busy with school.
Yeah, school! I made the decision before the summer that my life needed a new direction, because frankly, I didn't like the direction I was going in at the time. I was hurtling towards mediocrity, and that didn't really sit well. I needed a new challenge, something different, something with an interesting future. So I applied for the Radio & Television program at NAIT, and was very lucky to have been accepted for the radio side of it. So far, radio has been everything I hoped it would be, namely, a chance for me to talk. And talk without ever having to hear, "you don't ever shut up, do you?".
Not only does the program come with the benefits of a hands-on education, but opportunities for really fun side projects, as well. I've started writing periodically for the Nugget, NAIT's student newspaper. Because of this, I've done a couple interviews so far, my first of which almost led me to have fanboy aneurysms. I was very fortunate to be able to interview Alex Rosamilia of The Gaslight Anthem, one of my newest favourite bands, before their show at the Edmonton Event Centre on September 26. Here is that interview that was published in the Nugget on October 1.
GASLIGHT, GAS BRIGHT
The Gaslight Anthem got to the half-way point of their set at the Edmonton Event Centre, when frontman Brian Fallon has to ask a few questions of the writhing, sweat-soaked and madly enthusiastic crowd in front of him:
“Where did you all come from? How do you know us? Is it the internet?”
Their ever-rising popularity continues to baffle members of The Gaslight Anthem, even though their ascension up the ranks of rock’s pantheon is no fluke. This New Brunswick, New Jersey foursome has worked hard for their dues, and that work is finally paying off, garnering the passionate attention of the masses and almost universal critical praise. Not to mention some rock royalty attention and appreciation, as well. Fellow New Jersey native Bruce Springsteen is always mentioned when discussing the band’s sound, and fortunately for them, the Boss really likes their stuff. So much so, that he’s asked to play live with them on occasion, like at this summer’s Hard Rock Calling in London. Since the release of their debut album, Sink or Swim, in 2007, TGA have followed with the EP, Señor and the Queen, and the full-length The '59 Sound, and created a sound that ranges from raucous punk to emotional retro-rock.
Lead singer/guitarist Fallon, drummer Benny Horowitz, bassist Alex Levine and lead guitarist Alex Rosamilia are currently on the last leg of a seemingly endless tour lasts lasted a year and a half. I was able to catch up with Rosamilia in Edmonton about how they spent their summer, Kelly Clarkson covers and Japanimation.
It’s been only five months since you’ve been in Edmonton for a gig at the Starlite Room. How is it playing in a mall?
You know, it’s funny, because when I found out, I had went to the mall that was near the Starlite the last time we were here, and I heard we were playing the mall in Edmonton, but I was at that mall! Where the hell are we gonna play? I didn’t realize it was this place. This isn’t a mall, it’s a village. It’s huge!
You’ve been on tour for a pretty long time in support of The ’59 Sound. About a billion years maybe?
When was it out? ‘Cause it’s been since then, until now.
And you’ve been around the world, and you’ve played a lot of festivals this summer, like Lollapalooza, Glastonbury, Hard Rock Calling. And I was very lucky to see you at Sasquatch. How is the festival experience for you?
We played all of them, I think. Sasquatch was fun. That venue was gorgeous, unreal. The festival is different than this, doing club shows and touring professionally. It’s two totally different animals. The festival is so regimented and everything’s in 15-minute increments. You have to show up between this time and this time, and load up from this time to this time, with like, four hours in between. There’s more time with club shows. Instead of ten minutes to line check, there’s an hour and a half. So you get to work on things. We learned trusty chords today.
You played early on the first day at Sasquatch. Do you get to stick around, or do you have to zip off to another show?
Well, sometimes we’d have to leave because the drive was so long. But when we stay, I like to venture out. I got to see Radiohead in Redding which was pretty cool, and the Flaming Lips. I go out in the crowd, because I like going to shows just as anybody else.
I’ll have to admit that I lost it a little when you played Pearl Jam's “State Of Love And Trust” at Sasquatch. How do you choose covers to play?
It’s funny, because it just kind of happens. One day, Brian (lead singer Fallon) played the progression and said, “Oh, that’s that song!” And then Ben (drummer Horowitz) started playing it on the drums, and we thought that was a good song so we should learn it. We like mixing it up. We like playing covers. Covers are fun.
There’s one cover in particular, which at first I thought was weird, but then thought it was kind of interesting because of the delivery. Brian’s version of Kelly Clarkson’s “I Do Not Hook Up” for BBC Radio One.
I was there for that! That was interesting. Brian was given a list of songs, so he picked the one that was most out of left field. It was the wackiest by far.
Going back to 2007’s Sink Or Swim, on “We’re Getting A Divorce, You Keep The Diner”, the opening lines are from Vampire Hunter D: Bloodlust (“Ready or not, here they come... it’s zombie time!”)
I think you’re the only second person that’s ever gotten that!
Are you the anime fan in the band?
Yeah, that’s me. When we wrote the song, it wasn’t there. I used to have a loop pedal, and that was one of three staples. One was for use for a side project, one was a line from Braveheart, and one was that line. At shows, I used to throw it in there before anybody could think about it. Then I was doing it at practice, and when we went to record it, I just hit the button. Force of habit, I guess.
So this is the last tour before the new album, and someone in the band mentioned that it might be a Social Distortion/Elvis Costello-type rocker.
Definitely a departure from The ’59 Sound. It could, it might not be, I don’t know. We haven’t done anything yet. Well, we’ve been working on stuff, but there’s no keystone yet. We’re fiddling with that stuff, and there’s some Fleetwood Mac in there. I’m about ready to write some new stuff. I’ve got the itch.
