SAY ANYTHING / BAYSIDE

LMC & Psyko Steve Present

SAY ANYTHING / BAYSIDE

REGGIE AND THE FULL EFFECT

Fri, April 21, 2017

Doors: 7:00 pm / Show: 8:00 pm

Marquee Theatre

Tempe, AZ

$21 - $31

This event is all ages

SAY ANYTHING
"With great power comes great responsibility." Surely a meaningful quote, but who can take credit for it? Thomas Jefferson? Sigmund Freud? Socrates? Nope. Spider-Man. It goes to show how something sort of profound can spring from an unlikely source. Any reluctant underachiever can make a difference: nerdy dude who gets bit by a mutant spider or awkward bipolar kid in a vaguely "indie" punk-pop band. That is the premise behind the band and the new self titled record Say Anything - we are in danger and any one of us has the power to save us. It's a fitting concept for a cult-favorite band who, on November 3rd, will release a definitive artistic statement aimed at the masses.

Like the origin of any unlikely hero, Say Anything was forged from conflict: a feisty young punk band from Hollywood formed during the birth of "hipster" elitism, always out of place. In that day any group of rich kids with a penchant for the Velvet Underground and enough five o'clock shadow could be paid millions of dollars to be walking billboards for "anti-culture" consumerism. Say Anything shunted pretension, choosing initially to play sincere and nervous rock music and opening locally for the touring bands they closely identified with (The Weakerthans, Rilo Kiley, The Promise Ring). A few years passed and songwriter Max Bemis continued to feel alienated from the collegiate "scene;" He witnessed young rebels devolve into the counter-culture clichés they sought to avoid in the first place, "reverse psychology" victims of homogenized humanity. By identifying this mass-marketed "hip" lie, Bemis found his "arch villain" and, imbued with purpose, Say Anything's music became a new monster - as theatrically pop-based as it was angular and dark. Influenced by bands like Fugazi, The Who, Botch and Smashing Pumpkins, Say Anything dually expressed its irreverence through sing along punk and almost awkwardly confessional Woody Allen-esque lyrics.
BAYSIDE
BAYSIDE
Anthony Raneri – Vocals, Guitar
Jack O’Shea – Lead Guitar
Nick Ghanbarian – Bass
Chris Guglielmo – Drums

Bayside fans don’t call their relationship with the band a “Cult” for nothing. After a string of much-adored releases, Bayside has one of the most dedicated fan bases in rock, and the group steadfastly rewards those devotees with the musical salvation they seek. Six albums and more than a decade later, Bayside has never lost touch with that mission and, in fact, they’ve only grown bigger. While veteran bands take breaks and regroup, Bayside haven’t taken that route and instead, soldiered on, building up and growing more and more into themselves… to the point in which they are the most “Bayside” that they have ever been. The fact that their audience has grown is testament to that.

Now continuing that legacy is the band’s latest creation, an explosive 11-track collection that captures Bayside in prime form, combining classic elements from throughout their career. Guaranteed to rock the faithful, the new release is appropriately entitled Cult.

“When we were done with the record we were like, ‘This is every Bayside record,’” explains singer/guitarist Anthony Raneri. “It has the honesty and rawness that we’ve had since Sirens And Condolences, and those risks: those weird key and time signature changes, and the different styles of music we explore. The Bayside ‘Cult’ is something our fans have been talking about for a long time, and it seemed like a good name for a greatest hits album, which is kind of what this is: a Bayside discography. On the cover, there are even little symbols to signify each album.”

That’s a lot of history for an album cover. The band—which also includes lead guitarist Jack O’Shea, bassist Nick Ghanbarian and drummer Chris Guglielmo—formed in the winter of 2000 in Queens, NY, undergoing numerous lineup changes in the early years. At first through Raneri’s sheer persistence and dedication Bayside progressed, eventually cutting two embryonic EPs with Dying Wish Records. Those efforts bore fruit, leading to a contract with Victory Records in 2003, resulting in the band’s 2004 full-length debut, Sirens & Condolences. But it was just the beginning, and the group released three more quintessential LPs with Victory, cementing their place as one of the most important bands in the modern underground music scene—Self-Titled (2005), The Walking Wounded (2007) and Shudder (2008)—then briefly moved on to Wind-Up Records in 2010 for Killing Time (2011), their most widely visible album to date. After that record cycle Bayside opened another exciting new chapter in their career, signing with punk powerhouse Hopeless Records in 2013. Cult marks the band’s first Hopeless release.

For latest effort Cult, Bayside spent roughly two years writing new material, then returned to producer Shep Goodman (who’d previously helmed two of Bayside’s most beloved releases, Self-Titled and Walking Wounded), as well as Goodman’s production partner, Aaron Accetta. Raneri says Goodman was a catalyst for the band’s obvious progression from debut Sirens to sophomore album Self-Titled, and this latest collaboration sought to rekindle that spark.

“Shep was very instrumental in teaching me about songwriting. He taught me a lot about drawing a listener in and getting inside the mind of the listener, and not just sitting down with a guitar and playing whatever comes to mind,” says Raneri. “He’s sort of my mentor as far as songwriting goes. I loved working with Gil Norton on the last record [Killing Time]—he’s a legend, and it was an amazing process—but with this record, I really wanted to get back and hone in, try to get better at my songwriting again. I knew that working with Shep has always done that for me.”

Sonically, Cult is perhaps the band’s most confident and resonant work to date, featuring turbocharged rhythms and the consistently blistering guitar work of six-string whiz O’Shea. But as much as the album is a return to the band’s musical sweet spot, on the other hand Cult’s lyrical content breaks new thematic ground, showcasing Raneri’s ongoing personal growth as both the man and the songwriter. Instead of dwelling on past romantic failings, this time the lyricist points his pen at the hard matters of life and death, having recently lost his grandfather, stepfather and stepbrother.

“[Cult] is pretty different because it’s not about broken relationships as much as other records; on a personal level, my relationship has been great, my marriage is good and I’ve started a family. Instead a lot of this record deals with mortality, without it being morbid,” says Raneri. “I lost a lot of people who were close to me, and it really just started making me think a lot about what my legacy was going to be. What am I going to leave behind and what is my entire generation going to leave behind? What are they going to be saying at funerals 40 years from now? It’s wondering if life is about leaving a legacy. Is that what we’re all here for: living a life worth remembering?”

Raneri channels these universal existential questions into personal inspiration on tracks like first single “Time Has Come,” which finds the singer challenging himself to rise to the occasion over intricately interwoven guitar lines. “It’s meant to be more of an uplifting thing,” says Raneri. “If I want to make something of myself, build a legacy, accomplish something, then I’ve got to just go do it. The time is now to do something if you ever plan on it.”

Other tracks like “Stuttering” and “Bear With Me” put the music business under the microscope, as well as Bayside’s place within it. “[“Bear”] has a lot to do with my career and my legacy as a musician. You look at bands like mine, and it’s hard to ignore that a lot of pop-punk or mid-2000s emo bands just sort of disappeared,” says Raneri, who’s instead had the good fortune of seeing Bayside’s popularity continually grow. “Fortunately for us our band has been able to make it through a lot of that. There are definitely days when I feel like I’m a novelty, but like the line in the song, I think I’m twice the man I used to be.”

Even when Raneri does return to issues of the heart, he does so with a newfound perspective. A prime example is the song “Transitive Property,” which Raneri wrote during Warped Tour 2012 for his girlfriend—now his wife—as a heartfelt apology, as the couple was on the verge of a breakup. Although never intended for public ears, when bandmates heard the song they insisted it be included on the new album.

“That’s the most personal song I’ve ever written. It’s like sharing a letter to the world; sharing my actual diary that I didn’t think anybody would see,” Raneri says. “I always write a song with the intention of sharing it, but that lyrically was the first song I wrote that was so personal because I thought nobody would ever hear it. I think it’s a great song; one of the best songs I ever wrote.”

Bayside has already toured the world many times over, sharing stages with a virtual “who’s who” of like-minded artists and enjoying regular main-stage spots at major festivals like Warped Tour, but the band’s plans for the coming year are no less ambitious. After Cult drops in February, Bayside will head out on a U.S. headlining tour, then travel to Europe with Alkaline Trio in the spring. From there Bayside will likely play still more high-profile North American dates during the summer of 2014.

“I’m excited about the tour, because it’s sort of a combination of underplayed and big shows,” says Raneri. “We’re in certain cities playing bigger venues than we’ve ever played, and in some cities we’re playing in smaller venues.”

Now six full-lengths into their career, making the setlist each night gets tougher than ever. Raneri says the band is cautious of including too much new material live, for risking of disappointing fans awaiting the classics, but once listeners have Cult in their hands it’ll be easier to gauge which new tracks to perform. Inevitably though, Cult will stand up well next to past material. If there’s one thing immediately clear, it’s that Cult is as classic Bayside as it comes.

“We don’t play anything we don’t want, but at the same time, we listen to our fans, and we know what makes Bayside, Bayside. We try to grab all those things that we all love about Bayside and try to do more of them,” says Raneri. “People’s lives change. You go from high school to college to adulthood to parenthood, and everything in your life changes, except there’s always going to be a new Bayside record, and you can always go home.”
REGGIE AND THE FULL EFFECT
REGGIE AND THE FULL EFFECT
Reggie and the Full Effect have always been a mystery. Who are they? What do they want? Where do they come from? There have, of course, been explanations. Studio fires, faked deaths, cryptic bios and tall tales of many sorts were countered by rumors that James Dewees—keyboardist for rock heroes The Get Up Kids' and drummer for seminal metalcore act Coalesce—was somehow behind all the crazy characters taking credit for Reggie and the Full Effect's synth-rock goodness. First there was the enigmatic Reggie, the band's apparent namesake and protagonist in a strange musical tale beginning with the release of the band's Greatest Hits 1984-1987 in 1998, followed closely by Promotional Copy in 2000. Then there was the mustachioed frontman Paco, who came to the fore on 2003's Under the Tray, and album which also featured an ever-growing cast of characters—Finnish metal band Common Denominator, English synth-pop god Fluxuation, death growler Hungary Bear, the ubiquitous Drunk Guy at the Get Up Kids Show—increasing both the band's popularity and perplexing mystique.

However, on Reggie and the Full Effect's new record, Songs Not To Get Married To, James Dewees is ready to come clean about his role as songwriter, multi-instrumentalist and mad scientist behind Reggie and the Full Effect. "Paco's dead now," proclaims Dewees, AKA Reggie, AKA Paco, AKA Klause from Common Denominator, AKA Fluxuation. "This record's more about me getting divorced; about working really hard for a really long time, then having everything taken away from you for no reason whatsoever other than somebody has the power to do it," he says. "Big man crushes small man syndrome." Granted, the history of the band's comical antics, song titles such as "The Fuck Stops Here," and the record's seemingly too-literal-to-be-true title might lead one to believe that Dewees merely jests about his inspiration for Songs Not To Get Married To. But Dewees insists that he is all too sincere about the theme for his latest masterpiece. The album opens with "What the Hell is Contempt?" a song, he says, inspired by his divorce court proceedings. "They called me up and said that were going to sue me for contempt," remembers Dewees. "And I was like 'what the hell is contempt?'" I don't even know what it is and I'm going to get sued for it."

But don't get out your handkerchief just yet. Songs Not to Get Married To, isn't all seriousness. Songs like the grinding metal number "The Trooth,"—which Dewees says is "about me having to go get a tooth pulled in the middle of recording. I tried to save it but they threw the tooth away. It was fucking gross."— and the dance-y "Dethnotronic" featuring Common Denominator and Hungary Bear, as well as snippets like "Guess Who's Back" and "Laura's Australian Dance Party" are all classic Reggie: switching genres at the drop of a hat, mixing irreverence and humor with razor-sharp guitars and sugar-coated melodies. And like Under the Tray, Songs Not To Get Married To was recorded at producer Ed Rose's Black Lodge Studios in Kansas, and includes guest spots by what Dewees refers to as his "all star friends," including Ryan and Robert Pope of The Get Up Kids, Benjamin Perri of From Autumn to Ashes, and Sean Ingram and Cory White from Coalesce. "I can always call in my all-star friends to help me out when I need them," says Dewees with a laugh. "With everybody being from the same small scene, we're all friends. Even as the scene is getting bigger, our friendships are all still like they were before. We all go out and get drunk together and bum cigarettes and money from each other all the time."

Though there is still the requisite silliness and genre-melding that fans of Reggie and the Full Effect have come to expect, Song Not To Get Married To is nevertheless a cathartic, one might even say serious record, at least by Reggie standards. "Everybody who's heard it so far has noticed that it was more serious," agrees James Dewees. "There's actually lyrics and songs not just about girls running away." But there are also plenty of fake accents, techno dance beats and Slayer-esque metal riffs to allay any concerns that Reggie has gone totally straight. "It's still Reggie," says Dewees. "There's still the humor there, it's just taking things a little more serious, doing it a little bit more subtly."

Songs Not To Get Married To is a look at the man behind the curtain, the record that finally proves once and for all that James Dewees is Reggie and the Full Effect, and that Reggie and the Full Effect is, in fact, James Dewees. Such a personal record deserves a personal bio, or at least a personal end to a regular bio. So here is a message from James Dewees, AKA Reggie, to you, the recipient of this bio. The message is as follows: "This is my new record. It is a little less silly than the last three, but I recently got divorced and lost everything so I don't have much to celebrate these days. However, I am still a happy camper, just single camping now. I hope you enjoy the new record and if my ex-wife is one of those unknown people who gets one of these bios…wow, you scored hella good huh?"
Venue Information:
Marquee Theatre
730 North Mill Avenue
Tempe, AZ, 85281-1204