Hybrid Sheep – Free From The Clutches Of The Gods

France has a lot of great bands, Gojira for example, or Betraying The Martyrs. Since 2008 there is also Hybrid Sheep. Originating from Haute Savoie in France, they produce raw and brutal, yet melodic deathcore. Since 2008 they released an EP, but no full-length album, it took them until 2014 to produce their first full-length album. With “Free From The Clutches Of Gods” they want to launch themselves into popularity. If you like The Black Dahlia Murder, you can enjoy Hybrid Sheep as well. The sound is rather melodic, but it’s very diverse within the whole album. Every song has its unique sound but it still feels like one whole, complete album. All in all, there isn’t anything that stands out for Hybrid Sheep, but it’s a firm and solid album and it will be able to attract new fans.

– Nicky Boes

People On Vacation – The Chronicles Of Tim Powers

People On Vacation is a band founded in Dallas, Texas. They are born from the hand of Jared Riddick from Bowling For Soup and Ryan Hamilton from Smile Smile’s. The sound of People On Vacation is really unique. They sound fresh, young and uplifting. They use the label ‘indie/pop rock’, but there is a lot more to People On Vacation. There is some pop punk and maybe even some country. That’s what you get if you’re from Texas maybe?  Their newest album is called “The Chronicles Of Tim Powers” and some songs really show that country feeling. “You may not believe in God” is a fresh song that shows the roots of the band from Texas. The album sounds really uplifting and with a positive vibe, but the lyrics aren’t always that happy. Sometimes it’s filled with melancholy and the feeling of losing something. “The Chronicles Of Tim Power” is simply a surprising and easy-going album.

– Nicky Boes

Glamour Of The Kill – After Hours

Glamour Of The Kill is born in York, UK. The metal band is already in the scene for about seven years now. They started more as a metalcore band with heavy and fast tracks. Starting from their last album “Savages”, they grew to a more clean metal genre. The growls and screams were set aside for clean vocals, with a sharp raw edge. With only five songs this EP is rather short but the sound is very different and it’s something more easy-going than for example their record “The Summoning”. Especially “Blood Drunk”, the last track can remind you of their older songs. Glamour Of The Kill has lots of friends in bands from touring throughout the years and that result is seen on “After Hours”. There are guest vocals from Craig Mabbitt from Escape The Fate and also Jacoby Shaddix from Papa Roach. Those voices fit well into the tracks of this ‘easy to listen’ EP.

– Nicky Boes

Jeff Rosenstock

Jeff Rosenstock is ready to bomb the music industry again with some new awesome music and sounds on “We Cool?”, his first release on Side One Dummy records, that even managed to crash their website when the pre-order went up. Time for us at RMP to have a chat through the technology of Skype with Jeff in his NY hometown of Long Island about the new record and all the amazing stuff surrounding this release, from bathrobes and bubble baths to working with AJJ and TSSB. Time to find out if we cool with Jeff?


  1. Jeff, congratulations on your new solo album, “We Cool?”. When the pre-order went up recently, it crashed the website instantly. How does that feel?

Honestly, I was just kind of worrying, because I wanted people to be able to get the record. At first I was ‘ah cool, that means people are interested’  and then like twenty seconds later the part of me that worries too much was like ‘oh shit, now people can't buy it anywhere. That sucks!’ It was nice and it's now available on a website that can't crash. Everything is back up and running now.


  1. You have some unusual merch on sale for this release, from a Jeff Rosenstock bathrobe to a teddy bear. Are you starting an imperium or what's the story behind the robe?

Well, at first I think Side One Dummy went to have some pre-orders stuff and I think like the first idea I was coming up with was like what would you want when you're having a sad night alone in your house like drinking. Stuff we were thinking about were like bubble baths, we were trying to figure out about having bottle of wines and then Christina at Side One came up with the bathrobe, she said ‘Rosenrobe’ and I wrote back ‘Robenstock’. And then it went real.


  1. Sean Bonette of Andrew Jackson Jihad drew up the shirt for “We Cool?”, epic as always of course. Was Sean or other friends involved on “We Cool?”?

Sean didn't play on the record but he came along on tour for a day or two with my other band Antarctigo Vespucci; just to hang out because we are buddies. He's just drawing in the van in this little notebook and all of us were like ‘holy shit dude, you're good at this’. I can't process how Sean is so good at so many things. So we asked him to do a shirt design for us. He sent me a bunch of stuff and that ended up being the one. As for other people on the record, there's a bunch of people on the record. Mike from Hard Girls and Shinobu played guitar on it, alongside me, John from Bomb The Music Industry played bass on it and Kevin from Bruce Lee band played drums. It's a solo record, but all four of us made the music. Then there's a bunch of other buddies who were cool and sent some other music in. Laura Stevenson sang some backing vocals with me on the record. Bob from Shinobu played trombone on it. I did a thing on Twitter and Tumbler to find a clarinet player and a cellist; we had two strangers, who are no longer strangers now to play cello and clarinet on the record. I know it was Scott that played clarinet and Sarah that played cello. We had a bunch of people doing all kind of things on the record.


  1. Since you’re tired of discussing the future, let's talk about now, how has the response been to your recently released video for the album track “Nausea”?

It's looking good, it's cool and everybody told me it's going good. People who have seen it and gotten in touch with me say they really like it. So I'm pretty stoked about it. I haven't got numbers but they're telling me it's good. My dad saw it and asked ‘what is your target audience, suicidal people?’ Even got my dad bummed out, so it's good. It's a weird ass video.



  1. “We Cool?” is the full album that's out in march, but you recently also released a track of it, “Hey Allison” on 7” through Side One Dummy records. It was your first release with them. How was it?

Really great, they are all really nice. It's a different experience to work with a label that has like an office. They have a whole thing going on there. When I mostly do things myself or with Mike who still runs Asian Man records out of like a garage or a basement. It's different to do stuff like that, but they are all really cool and it's nice to have new people having to help me out.


  1. Would you like to elaborate on the new song “All Blissed Out” because it has quite a different sound I can't totally place? Can you help me out?

This record especially is like faster and louder than anything I have done in the past few years. So this kind of stands out as one of slow-building, quiet ones. It came through a thing I was playing on my keyboard at my house where I sampled a harmonica, played it through and reversed it and just screwing around with it. And then one day I came up with the main melody and that other stuff that is in there. I was stoked to have a song on the record that was like superquiet and that got super, superloud. That’s extremely dynamic.


  1. You produce a lot of bands too, for instance the recent release of The Smith Street Band was done by you. How was working with the Smithies?

They're the best, they're my favourite. We were good friends before the record and we are good friends now. It was really fun. I'm super thankful for them, I hadn't done much of that stuff for other people on a large scale before they brought me up there to do that. I got to stay in Australia in the woods for about a month. That was fucking cool. They’re just a great band and it seems they keep getting bigger. So fuck yeah.


  1. You’re starting an American tour next with Andrew Jackson Jihad, The Smith Street Band and Chumped. How did this line-up come forth and how excited are you?

I'm really excited. Firstly, it's like the first tour I'm doing since like 2012, if you don't count going to Australia. It's been a really long time. It's really good to get back into it with three bands that are like really close friends. Andrew Jackson Jihad, we've been friends for like ten years now, we're just superhuge buddies. Chumped lives in Brooklyn and The Smith Street Band obviously, I'm pretty close with them after and even before the record. It's going to be a real fun time. I'm hoping to get to Europe somewhere by the end of the year. I'm psyched to come to Europe.


  1. With Quote Unquote Records you have your own unique record label, a donation-based label. You give what you want for the music. Any plans in that department?

I just put out Sean from Andrew Jackson Jihad, he made a solo EP of cover songs, songs that you have seen in skateboarding videos. All the money is getting donated to the Skate After School program, to get kids into skateboarding. That is the last thing O did. Quote Unquote is a really funny thing, you know Bandcamp just pretty much made that this thing can do anything, I think it's great. It's a slow-moving donation thing, like if a friend of mine has something they need a home for. I haven't been like seeking things actively for a while now, letting it do its thing.


  1. So if you have any time left after all those activities, touring, recording, producing, you even submit songs for movies. Any successes lately?

It's been fine. I get things through my publishing place, they are like ‘write a song that sounds like this’, or ‘write a party punk song’. I never hear anything back, I guess there not good enough. It's a fun thing to do. I scored a documentary some time ago. That was cool, I'm just stoked I get to do all those things. It gives me a different perspective on all those things.


  1. Any last words?

If we make it over to Europe, we don't speak English well and we don't understand any other language so don't yell at us because we don't understand what you're saying. Please come say hello to us, teach us funny things to say. Like when I was in Brazil the only thing I learned to say was like the only thing all old Brazilians say which was basically like saying 'that's a nice meatball'. If somebody could teach me something like that in every country we go to. And that's all I know what to say I think it will be fine.


– David Marote

John K Samson

For those who actually read my interviews and reviews, you might have noticed certain favourites of mine over time. Fat Wreck and its band roster are along of my pet peeves, so is H8000 hardcore and related styles. But one band/artist that has been an all-time favourite for long is John K Samson of The Weakerthans. This Canadian singer-songwriter is my personal favourite when it comes to lyrics. So when John K recently did a small European solo tour it was time to speak with the man from Winnipeg himself. From the first show in Belgium to the one in the UK, we took the time to pick John K's brain on his past with The Weakerthans, his solo material on “Provincial Road” and of course his future plans.

For those who don't like to read all of this or want more, we also filmed the full interview and  full set at the Eeklo show and it's available on Youtube (courtesy of my good friend Iheartweakerthans, go check out his YT channel for more). You can find the link below.

  1. Welcome to Belgium John, first time in Belgium or have you graced our land with a visit before?

I don't think it's my first time, I believe I’ve played here before, but it's been some time for sure. I believe The Weakerthans performed in Brussels, like ten years ago perhaps. But I'm excited, to be here. It's the first day of the tour. That's always fun, but scary.


  1. So today is the first day of a small European tour, this tour is revolving around your 2012 solo album “Provincial”.

To a certain degree, I've been playing a lot of Weakerthans songs as well. And some new songs I've been working on. There were a bunch of places I didn't get over to when I came over with the Provincial band. So I thought I would just come back and do some spots I didn't get to.


  1. And to start this tour you are playing the N9 venue today in Eeklo, Belgium. Did you know that the venue is named after the provincial road N9 that runs from Brussels to Ostend, so today's show fits perfect with the theme of the album.

Oh, I had no idea. That's superfitting, I like that.


  1. “Provincial” is a thematic album, the songs all deal with small town communities in Manitoba. What drove you to put the stories of these towns onto paper?

I guess I really wanted to have an excuse to drive around my home province of Manitoba. I had this idea in my head that I would choose like four roads and write songs about each of those roads. I'd try to write something historical and something about the landscape and something contemporary. And then at the end I would have all these songs. So this happened and at the end I had twelve songs. I took me a lot longer than I thought it would. It took like three years to write and record. It was kind of an enjoyable process. Kind of like a snapshot of the place that I'm from and its surrounding kind of areas.


  1. You performed intensive research for this album by visiting those towns and by digging into their background and history. Did this research lead to new insights about your province?

Absolutely, I did. I felt like just the amount of history contained in any one place can be really profound. There's a lot under the surface of things. So much has happened wherever we find ourselves. It's kind of our job or our duty as citizens to become aware of those histories that are beneath our feet in a way, to respect them and learn from them. I was really interested in the lives in small towns. Right now it seems to be a very interesting time to live in a small town, I don't, but I know a lot of people who do and I spend a lot of time in smaller towns and the way that the internet is changing these small towns so that people can become connected to other places but they are still living in these small communities with some real kind of community traditions. And it’s that I'm interested in. The internet is both harmful and helpful in that regard. It's bringing people together and pushing people apart at the same time. I really wanted to explore that. That's why there are a lot of video games on the record I guess.


  1. You mentioned Grand Theft Auto in the song “When I Write My Master's Thesis”. What inspired you to bring ‘the new world’ into your songs?

Well actually The Weakerthans drummer, Jason Tait, used to play Call Of Duty, which is the other game that comes up on the record. He played it online with other people all around the world, they play on a team. I thought that was superinteresting; all these people playing a game together from all over the world. I never heard of this before. That was really kind of cool. I never thought that was possible. I'm of the generation where video games cost like a quarter and you had to go to arcades to play. I missed gaming entirely; it's not part of who I am so I find it a kind of weird, fascinating culture. I think it's really interesting and I think there is a lot to be said for it. Like that people are sort of collaborating on the projects across vast distances and culture but also that it’s a great way to waste time. That's always going to be the case. I guess you could do the same for music, I think video games get a bad reputation.


  1. A place that holds many different and small communities is the internet. How do you feel about the internet and music nowadays? Is it easier for bands to spread your music all over the world?

I think the internet has been both wonderful for musicians and a problem for musicians. It puts the means of production into the hands of the worker. Straight-up economic Marxist sense, it's a good thing I think. All these artists that weren't able to be record before can now. Like I think I would spend a 100 dollars a day on recording on something I could do with this now [pulls out his iPhone]. It's crazy to think that 20 years ago we all would have thought it was a bonkers idea. I have a really conflicted idea and relationship with the internet. I'm not on the internet anymore, which is weird, I stopped. I don't have social media, I just use e-mail. I feel a bit like an outsider now that I’ve stopped. I'm kind of missing or I get it later because I read newspapers and watch television or listen to the radio but those are my main sources of news now. For me it's been an interesting experience to try and stop. Not to be moral about it, I think the internet is a wonderful thing but I think what it does to my specific brain is wonderful. As an artist I find it difficult too; there's so much opinion on the internet, so much criticism and I feel it's hard for anyone to develop as an artist if they don’t pay any attention to that. I feel like a whole bunch of the musicians that we know and love and made music in like the 80's could never make music nowadays. They could never get past that social part of the media where you to have to be friendly and open and encouraging. I think there are a lot of phases in an artist’s life where they can't be that. They should just be in a room somewhere locked with their words and their song. It's really complicated and there's no turning back. I'm still waiting to see what really sticks and what falls by the wayside. So I'm fascinated by what happens next. I kind of like the weird by-product of this advancement is that everyone seems to go to shows nowadays. More and more people are going to shows, more and more musicians are playing a show. That's where to connect with people in real life. That's where they can make a living. I feel like 20 years ago the live show didn't seem to be the future for anyone. Now the live shows are the future. I happen to love live shows so I'm pleased about that.


  1. Your hometown of Winnipeg is ofgreat influence to your lyrics. What makes Winnipeg so enclosed in your heart?

I guess it's a really unique place and also a really normal place. It's right in the middle of North-America, almost dead centre. It's a city of about 800.000 people and I’ve been living there for almost 41 years now. It always felt like a place where people felt that life was elsewhere. So it felt to me in the beginning, when I started reading and listening to artists from Winnipeg, it felt like a real liberation and exciting to hear people speaking about that place. It's like a place where people grew up and left. I wanted to stay and kind of explore that place. It sort of became my main theme in my writing life. It's something I feel I still haven't figured out yet. It's like a problem I can't solve.


  1. You've toured the world, both with the band and solo. Right now you're doing a solo European tour. As you often write about places and landmarks at home. Any plans on writing songs inspired by your travels in Europe?

Absolutely, I weirdly feel that makes me want to write about Winnipeg even more. Just being away gives you a different perspective on where you are from. I like coming to a place like this that I’ve never been before and discovering the unique things about this place and that to me makes me think about the place that I'm from in a different way. I do have one song that is set in London; that is kind of interesting for me. Maybe I'll do more European cities.


  1. As a writer, language must mean much to you. How do you feel on the current status of language? I mean like phenomena such as 'texting' abbreviations, or just the decline of spelling and grammar in general? I just read something in the newspaper this week about Finland planning to cancel writing from their schooling program because everyone is using computers nowadays and nobody seems to write anymore.

Well, I think weirdly, that's another thing the internet has done, it made us all readers. People read all day long on their screens everywhere. And on those screens there’s like text, the written word, and it still has great power to influence and change and do what language does; this incredible act that it does to connect people. I feel actually more kind of hopeful to language than ever because it is everywhere and people are doing interesting things with it. It does kind of spook me that people won't write anymore. I'm okay with it. I do most of writing as a typist now anyway. It was the only thing I learned in high school, it was how to type.  And I'm glad I did, I was of the generation where boys didn't learn to type. I was like the only boy in my grade ten typing class. I'm really grateful I learned how to do that. It's the one skill that I actually use.


  1. The output of your work is rather laidback, your writing process leads up to something of three or four songs a year. Do you consider your lyrics as babies that need to be nurtured?

I like spending time with them. I like the process of writing a song, I like worrying at it, just poking at it until it's ready. I'm down to one or two songs a year. I'll try to make that better in the new year. Maybe one of these days I will like write ten songs in a week, part of me is, I like the process. I was just reading this book and a character in it said 'You should write songs, just not too often'. If I would write to many songs, it would get annoying.


  1. And once you release the songs onto the world, are you happy with them or do you feel like they are still works in progress?

I do feel there's still a work in progress to all the songs. The great thing about playing live is the songs do different things when you are playing them in front of different people and each night is a room full of different people. I feel a great privilege and really lucky to go around the world and do that. To me I feel the songs are at their best when I'm a room with other people in it.


  1. And now the question everyone has been waiting for, the obligatory Weakerthans question: are there any plans to release new material in the nearby future, or even new JKS solo material? Or even a Weakerthans European tour?

I don't know frankly, I’m not sure. We'll see, the songs will kind of dictate what will happen. All those guys are doing things right now for the foreseeable future. I'm doing other things but I would never say never. It could happen.

– David Marote / Arjan Van Geel

Dragged Into Sunlight

Dragged Into Sunlight hail from the underground of the UK extreme metal scene, maybe they even are their own unique scene. Grim, dark sound and aesthetics are the thriving force in this arcane outfit that is usually disguised from the outside by balaclavas and almost no communication to the world outside. Spitting their bile upon the world through sonic annihilation and dissonant rhythms, Dragged Into Sunlight are men of words. But we at RMP got them to share some thoughts with us regarding their band and mission.

  1. In 2012 you released “Widowmaker”. The opening track “Part I” is an almost 15-minute-long track of ambient sounds and violins. Not really what many expected from Dragged Into Sunlight. How has the response been to the album and that track in particular?

Dragged Into Sunlight is without doubt, a selfish endeavour, and so, we create as we wish to create, drawing from such a vast pool of influences that the outcome is virtually unpredictable.  If it is what those involved wish to listen to at a particular point in time, then so be it.  “Widowmaker” is new flesh to an existing body of sound and as such Dragged Into Sunlight meanders and twists as it sees fit, without limitation.  We definitely do not work within the confines of expectation. For what it is worth, however, “Widowmaker” was, in all, well received.


  1. Dragged Into Sunlight plays a heavy mixture of doom, sludge, black metal, even some drone sounds used now and then. Do you feel these certain genres to be the best to express your music?

Dragged Into Sunlight does not work within any particular genre.  Genres in the most part are for those who wish to feel safe and unchallenged.  Ultimately, a label or description, makes little difference, it is quality that underpins any description.  Dragged Into Sunlight is an affliction born from negativity, best expressed as creativity without limitation, everything louder and everything heavier than everything else.


  1. Dragged Into Sunlight was formed in 2008 out of the ashes of other defunct bands, so far you released a demo and two albums, and the first month of 2015 has already passed. Any plans for new material?

There are always plans.  New recordings will be forthcoming, when the time is right. 


  1. In the video for “Boiled Angel”, one of the songs on the 2009 release “Hatred for Mankind”, there is a piece featuring Charles Manson. Why the choice for Charlie and what do you think about his music (folk) a part that not many know of Charlie?

Manson's words and demeanour resonated with the theme at that particular time and place.  Manson, like any being, is able to create music, relatively good music even, the particular style is somewhat irrelevant however as any creative outlet is most definitely overshadowed by the media frenzy and the ideal of Manson as a cult serial killer. The travesty is in fact just that we live in a world where ideas and depictions are planted and derived from media coverage rather than facts and an accurate knowledge base, everything is based on perception and in contemporary society perception is easily manipulated for any number of reasons and to satisfy any number of agendas. There are without doubt, many facts relating to Charles Manson which will remain buried as they do not fit those ideals or agendas portrayed by the media, those unknowns serve only to create an inconsistent story and a perception other than that established by the media which focuses on the crimes alleged to have been committed.  Very rarely is Manson acknowledged for academic commentary, and in fact “Boiled Angel” voices some of those theories directly from the horse's mouth so to speak.


  1. Dragged Into Sunlight hails from Liverpool, home to The Beatles. You guys have a different sound compared to them but do you consider them an influence as well? Or does the Liverpool-Beatles connection mean anything to you?

That is a common misconception.  In fact, those involved in Dragged Into Sunlight are from all over the UK and congregate in Liverpool as a convenience.  Both bands are however products of their time and marked by personal experience, hence there are both cultural and ideological differences.  That said, the connection means very little unfortunately.


  1. The image of the band is quite dark and occult at times, you all wear balaclavas (ski masks) on stage and smoke is in abundance. Doesn't it get sweaty with the masks? And what does occult mean to you and how do you connect it with the band and its message?

Balaclavas are used in photographs only, suffice to say, there are no smiles for the camera.  Dragged Into Sunlight appears in person on stage without any mask, so in answer your question, of course it gets sweaty, but not due to masking, just from exhaustion. The occult and supernatural are of no great significance, no one is bringing anything back to life here, there is no worship of deities or anomalous entities created from the imaginations of ancient sun-blasted shepherds and madmen.  The notion of cult, family and following, a sense of devotion to a particular theme, manner and belonging are however of interest, and are connected to the band and any message.


  1. You recently did a European tour (November 2014), the biggest part of your shows takes place in your own territory of UK, how was the response of the European crowd?

There were two UK shows in London and Bristol at the outset of the November tour, both of which were busy with solid line ups including 11 Paranoias, Ghold and Hooded Menace.  Shows such as Berlin, Prague and Utrecht in particular were highlights.  Europe has some great crowds, mostly due to the ethic which is few and far in the UK unfortunately.  The underground extreme music scene and thriving DIY ethic which subsists, as well as some truly exceptional promoters, always provide for a good experience during performances in Europe.


  1. Last summer you also toured Japan for the first time, a country that has quite different cultural standards opposed to our European customs. How was the experience?

Japan is a very different culture.  Politeness is inbuilt and extreme music appeared supressed to such an extent that it became a nocturnal activity. Like any pressure, it builds up, and requires a release.  In Japan, the latter was best demonstrated by the opening bands, who offered a level of aggression and exertion that UK bands would be pushed to deliver on any day. The experience was certainly enlightening. Bands to check out include our friends in Zothique, Coffins, Nola, Endon and Self-Deconstruction.


  1. I notice that in your merch section you also provide Dragged Into Sunlight skateboard decks, did members of the band skate or what's the connection with the band to make this merch?

Occasionally.  Holy Mountain Printing was keen to pursue skate decks and the design by Comaworx worked well.


  1. The occult and satanic imagery has become approved by the masses, everyone knows of Anton Lavey and Aleister Crowley or ever Charles Manson and the Family. But where do you draw inspiration from? And what's your stance on cults and the occult?

It has been said before that the occult and religion hold little value.  There are no abstract realities here, just one reality, the same reality which continues to suffocate and force feed on a daily basis.  For the most part, that frustration results from the throes of everyday existence and continues to present the difficult decision as to whether problems are best resolved with a rational mind or a nail gun.  Most days tend to favour the latter.


  1. Any last words you want to share with our readers? 

Watching.  Waiting.  Visible.

– David Marote

Bowling For Soup

Twenty years and twelve studio albums… quite the accomplishment! Everyone’s favorite Texans decided to mark this phenomenal milestone by releasing a compilation by the name of "Songs That People Actually Liked: Volume 1 (1994-2003)". It is packed with hits, from start to finish. We caught up with the guys to talk about the record, the years on the road together and whether they ever did get the girl all the bad guys wanted!

  1. Hey guys, thanks for taking the time to talk to me! How’s 2015 going so far?

Things are great! We’re really excited about upcoming stuff!


  1. What was the main reason for deciding to stop touring? Was it something that you’d been thinking about for a while?

We haven’t stopped touring at all… In fact, we are booking US dates as I type this… We just need a break from the international stuff, being gone for a month at a time, when you are where we are in our lives it can be really gruelling… That said, we will be back! 


  1. What’s the main thing you have learned from twenty plus years of touring?

Beer is good!!! 


  1. If you could be in any band other than BFS, which would it be?

People on Vacation or Jarinus! Haha…Dreams come true!!!


  1. Do you have a favourite place over the world to play?

I do… I love Manchester, UK… The crowd is so amazing and the show always has the best vibe.


  1. After 12 studio albums and twenty years as a band, you have quite a catalogue to draw from, did you ever get tired of playing the older songs?

There are a few that we have shelved for a few years. That said, you’ve got to play what people want to hear. Bands that don’t play their hits are dummies! 


  1. Are there any current bands that particularly inspire you?

I LOVE Frank Turner. He makes me love music for so many reasons! 


  1. Do you still want the girl all the bad guys want? Or are you looking for someone more conventional?

That girl is a bitch!


  1. Have you got any plans outside of Bowling For Soup? If so, what are planning to do?

The new People On Vacation album just came out there today and we leave for tour in the UK in a few weeks. Then I will start touring with BFS again. Shit never stops!


  1. Thanks for talking with me. Have you got anything to say to your fans?

Thank you! And yes I do! Thank you for giving BFS a career. We will see you soon!

– David Marote