Ten years ago, All Time Low were on top of the world—or at least to those peering in from the outside. After great success with their Put Up Or Shut Up EP and So Wrong, It’s Right, the band began work on a third release, Nothing Personal. Finally coming into their own sound, the four-piece pulled in a plethora of producers, delivering long-standing scene favorites in “Weightless” and “Therapy.” However, behind the scenes, they were battling label woes all while trying to put out the most pivotal album of their career.

author: Rachel Campbell

Days out from the release of the rerecording of their second full-length, It’s Still Nothing Personal: A Ten Year Tribute, and year-ending anniversary shows, frontman Alex Gaskarth revisits the album that started it all.

What immediately comes to mind when you think of this album?

It was a pretty seminal record for us. This was the one that felt like it truly connected on a different level with people. So Wrong, It’s Right was a staple album for us, but I think Nothing Personal felt like the record where we went from being everybody’s back-pocket band to the band people were on to before people were on to us. Nothing Personal solidified our place in the genre and in the scene that we were developing in. 

What do you think it was about the record that solidified your place in this scene? 

We started to sound like ourselves—like All Time Low. There was a perfect storm of developing from what we had already been doing on our EP and So Wrong, It’s Right. Those records were very raw. It was songwriting that was a little bit unhoned and unpracticed, but the energy was there. Nothing Personal was where we turned a corner and started learning how to craft a song. We even became a little bit experimental. There’s a few songs on that record that, at the time, were very weird to people. I remember when we first released “Weightless,” people were tripping out online because we started it with electronic program drums. I remember a lot of the immediate reaction was like, “This sounds like Death Cab. What’s going on? Why are All Time Low suddenly an electronic band?”

Continuing with “Weightless,” that song was very well received, especially throughout your career. When writing it, did you have any sort of feeling that it would have this widespread appeal?

No, we had no idea. I think we tried our best to put together a really great record. We wrote some really cool songs with a handful of amazing producers. I think another part of this album that was unique was that we worked with five different producers on the record for a handful of songs. And again, for the time, that was kind of unusual. Everybody was doing pop and hip-hop and rap and other genres, but it wasn’t so common in our world. Usually, you picked one of the big rock producers. You went in, and you wrote your album and made your album, and that was it. So I think the staying power was definitely not something we expected. You can never predict that. You make songs that you love and you want to play live. We got really lucky that people latched on to it. It fit a moment. I think that was the biggest thing. It spoke to what was happening at the time and in the scene.

This was your third release on Hopeless. What was the goal when you went in to start writing songs for this record? 

We just wanted to polish our sound a little bit and learn from all these producers we were working with. It was really a time for me as a writer where I felt like I was just starting to understand how to crack the code on writing songs, and so I was intent on going in and just learning from the producers—all of their tricks, what they brought to my raw ideas and how we as a band could step up our sound and do things a little bit different rather than just playing fast and loud. Don’t get me wrong: There’s still mostly that on the record, but there it was how to figure out how to refine that sound a little bit and polish it. So that was a big thing for me. And really, we were just having fun. I think at the end of the day, this band have really always just been about connecting as the four of us and having a great time and making sure that other people connect with that great time and in turn, also have a great time.

What do you think people would be surprised to learn about that era?

I mean, it was a pretty complicated time. The record was pretty tumultuous when we got going. We were already talking and fielding offers behind the scenes from other labels, and there were conversations about us being upstreamed and bought out by major labels, so we were being pulled in a lot of different directions internally and still trying to focus on this record. I think some people may not know that it was a pretty bumpy ride to get to the endpoint. 

Wasn’t there a song that was written about that bumpy time that didn’t make the album?

Yeah, there were a few. There were a few songs that didn’t make it, but yeah, there’s one that lived in the ether because I think there’s some videos of us playing a part of that live or something that I always still get.

I was actually at one of those shows. You played it in Pittsburgh.

Oh, that’s wild. That’s so crazy. Yeah, we still get asked about that to this day. There’s definitely the passionate fan from all the way back then that’s like, “Whatever happened to that?” That goes hand in hand with the process and some of what was going on back then. But these things come and go, and it wasn’t right for the record. To be honest, I’m glad it didn’t go on the record because it was a pretty fiery song that really didn’t end up fitting the vibe.

Was there anything else on the record that did make it or something that you wish you could have changed?

There are always things looking back at albums that I wish I could change, and it’s usually pretty minor stuff. Time and perspective are always something that I think the creator of any piece of art is going to have to live with. We all look back at our old work with a new perspective and go, “Hey, I probably wouldn’t do that today.” So there’s definitely things that we would change, but specifically, no. That record had such a crazy life, and it continues to. I really wouldn’t change anything at this point because it got us to where we are now, so you know, “No regrets,” I guess as they would say. I think the coolest thing to us is that we just had no idea that those songs were going to connect with people on such a deep level in certain cases. “Weightless” is always something people cite as the song that really means a lot to them and then also “Therapy” being a song I wrote from a very personal place, but it resonated with a lot of our fans and has fixed itself as a staple of just connecting on a level that I, back then, never could have comprehended that it would.

Are there any other songs that fans still talk about that you’re surprised had such a long-lasting effect on them?

I think “Sick Little Games” is one that always surprises me because we never played that live a whole lot. We played it on a couple of tours, but we’ve just recently gone back and actually rerecorded a lot of these songs for a tribute release that we’re putting out [this month]. I think going back and playing that one, it really resonated with us, which was an interesting thing. We got in the room and started playing, and we were like, “Damn, this is one of the better songs on the record. We slept on this one.” I think that’s always funny when you have so many songs like we do now, and you sometimes forget that you may have overlooked one that was a really strong contender just because that’s the way things work out sometimes. But it’s been fun for us to rediscover what connected.

With the rerelease you announced a few months ago, what are you planning to do differently with the rerecording?

We play the songs as we would play them live. The beauty of it is it’s this amalgamation of a live record meets a rerecord. We have to do everything over from scratch. And so we went back and reimagined a lot of the secondary sounds—a lot of the programming, a lot of the keys and stuff like that was all redone. I think it stays pretty true to the songs. But, at the same time, there’s enough new information there to keep it interesting for people. It was a tricky balance because I think if we went back and did a full reimagination of the songs and changed it drastically, people may be like, “Well, this [has] lost the charm of what made them 10 years ago.” So we were very careful not to go too far but also not to just make carbon copies because obviously, some of those songs we played on live DVDs before, and they exist out there already, so we wanted to bring enough new information to the table to make [it] cool.

Are you working with David Bendeth again? I thought I saw him in the teaser.

We got really lucky with this one. We actually managed to get a bunch of the producers to sit down and do interviews. [They] talk about their memories of when we made the record 10 years ago. I think most of the producers are on the documentary speaking to the same things we were speaking to. We actually self-produced the music side of it, so we didn’t work with the producers again on it. But it’s really cool to see what all the producers had to say. [Matt] Squire’s on there, Butch Walker and yeah, David Bendeth. 

Typically, artists celebrate albums with reissues or tours. For you to rerecord it, why did you think that was the perfect celebration of Nothing Personal 10 years later?

We just wanted to do something different. It didn’t take us much to do something extra. We just felt like it would be an exercise in something that a lot of people haven’t really done yet.We can still do the shows, [and] we can still do all the stuff that we’ve done before and other artists typically do, but this one just felt like such a special record to do something a little extra for it. We just want to give people something different, and thinking of those things when you’re 15, 16 years into a career isn’t always easy, so [we’re] just trying to figure out what that was, and that’s what we came up with.

Looking back, is there any advice you would have given yourself 10 years ago now that you’ve lived through it?

There’s definitely things that I probably wouldn’t do now on a song that I did then. I was trying things and wanting to make stuff work. And other things were a little bit of a lack of knowledge of how to correctly write songs. I probably wouldn’t chant the names of a bunch of cities again if I was being honest. [Laughs.] But that song was fun actually because we, so “Hello Brooklyn,” we’ve literally never played live. That’s one we really had to dig in on and get right as we played it again for this rerecord.

Is that the only song that you’ve never played live off that record? 

No we’ve never done “Walls” either. I think those are the only two.

That’s surprising. 

Yeah, that’s another one. That and “Sick Little Games.” “Walls” and “Sick Little Games, were the two that we were like, “Damn, we snoozed on these like way too much.”

Where do you think Nothing Personal sits in All Time Low’s legacy?

There’s an argument that it’s our biggest record—sales-wise [and] how it’s performed over the years and still consistently to this day. [It’s] a very crazy number of copies every week. It just recently went gold. It’s one of our biggest records, and I think it really resonated with a lot of people. I think it was [the] right time, right place and right sound for All Time Low to live in that place between rock and pop and punk. And it very much married [those]genres in an interesting way unintentionally. I think it just came to define this band in a lot of ways.

source: https://www.altpress.com/features/all-time-low-nothing-personal-interview-alex-gaskarth/

Ten years on from the release of their career-defining record Nothing Personal, All Time Low are getting lost in stereo all over again by re-recording the album’s 12 songs for a very special anniversary edition…

author: Jake Richardson

Pop-punk heavyweights All Time Low have announced they’ll be celebrating the 10-year anniversary of their much-loved album Nothing Personal with the release of a brand new re-recording of the record. It’s Still Nothing Personal: A Ten Year Tribute will be released on November 8, featuring a new version of every song on their classic 2009 LP.

Alongside the music, the band have produced a documentary that charts the entire recording process and features in-depth interviews with all four band members, as well as input from the producers that worked on Nothing Personal. In addition, the Maryland natives have announced a set of anthology shows to commemorate the occasion, with concerts in Los Angeles, Chicago and New Jersey taking place across eight dates in December.

Nothing Personal was the band’s third album, and helped launch them on a career trajectory that’s seen them grow into a giant of contemporary rock. In the decade since its release the band have headlined festivals, played arenas around the world, and even topped the UK album charts in 2015 with their sixth LP, Future Hearts.

It was the infectious songs from Nothing Personal like Weightless and Lost In Stereo that set All Time Low on that path to stardom, though. Here, frontman Alex Gaskarth fills Kerrang! in on the anniversary celebrations, teasing what fans can expect from the new release, and reflects on the legacy of an album that changed their lives…

Have you been plotting this anniversary release of Nothing Personal for a long time, Alex?
“Yeah – we’ve always known we wanted to do something special to celebrate this album, and make it something that went beyond anthology shows. We did 10-year anniversary concerts for [2007 album] So Wrong, It’s Right, so we wanted to go a step further for Nothing Personal. In the end, we came up with the idea of doing a documentary, so we sat down and spoke about the album in great depth, and got the producers of the record involved, too. It was fun diving back into the Nothing Personal world and taking a walk down memory lane.”

Did it feel strange for you to be subjects of a documentary?
“No, because we all love talking about ourselves! (Laughs) It was a bit surreal, sure, but we’re not doing this for us. As cheesy as it may sound, we’ve done this as a thank you to all the people who have supported us over the past 10 years. Above all else, this is for the fans.”

What was it like having a camera crew film you while you recorded?
“It was very odd to have those cameras in our faces! It takes you out of the moment because you’re trying not to break the fourth wall, and it kind of feels like being in a zoo, only it’s one where thousands of people are going to watch you from the comfort of their homes! We tried our absolute best to not let it affect us, but it’s a vulnerable situation to be in when you’re trying to play every note perfectly. We’ve been filmed playing before, so it wasn’t quite a baptism of fire, but it was definitely a different experience for us. I’m glad we did it, though – it was super fun to be back at Red Bull Studios, which is where we originally recorded the bulk of Nothing Personal. It was nice to revisit those memories.”

Did you alter or reimagine any of the Nothing Personal songs while you were in the studio?
“We talked a lot about whether we should totally rearrange the songs and approach them from a fresh angle, but we’re quite precious about those tracks, and we know we’re only going to be doing a handful of Nothing Personal shows in a select few places, so we decided it’d be best to recreate that live experience as authentically as possible for those who can’t be there. Consequently, we stayed pretty true to the original versions when we were in the studio, but we did change a few parts along the way and make some improvements. I didn’t go in and rewrite the lyrics to Therapy or anything like that, though!”

Which was your favourite song to revisit?
“I really liked doing Walls – it stood out to me as one that was really fun to sing, and it’s got a cool energy to it. There’s plenty of emotion in that song, and the chorus really allows you to belt some notes. I’m eager to play that one live – I think it’ll provoke one hell of a sing-along.”

As well as the special edition of the album, you’ve announced some Nothing Personal shows for December in the U.S. What’s the plan for those?
“We’ll be playing Nothing Personal front-to-back, which will be cool because there are some songs on that record that we’ve never played live, like Walls. It’ll be interesting to see the audience’s reaction to hearing those songs live for the first time. The shows will be great moments to share with our fans, and we’ll be playing a full set alongside the anniversary material. The ferocity with which people attacked these tickets the minute they went on sale was mind-blowing to us – I believe the shows were sold out within hours – so if that’s any indication of the fanbase’s excitement, I’m pretty sure these gigs are going to be insane.”

Which of the Nothing Personal songs that you’ve not played live a lot previously are you looking forward to performing?
“I’ve always loved Sick Little Games. We played it for a tour or two a few years ago, but then it fell back into the shadows. I really like anything that I got to work with Butch Walker on – he recorded Damned If I Do Ya (Damned If I Don’t) with us as well, but that’s been a set staple of ours since it came out. Rocking Sick Little Games is something I’m excited about.”

Has it been a challenge to relearn some of these older songs?
“We’ve had to work at it, yeah, but it’s been a cool process. It’s crazy how that muscle memory can still be there a decade on – some of these songs exist within us like we wrote them yesterday. It was kind of spooky being able to pick some of them up again so easily.”

Ten years on, which song from Nothing Personal stands out as the best, in your humble opinion?
“Weightless, hands down. Calling it ‘timeless’ might be a stretch, but it’s a song that’s totally synonymous with our band, in the same way that Dear Maria, Count Me In is. Weightless has really stood the test of time, and it speaks to what All Time Low has always been about; it’s a banging rock song, and that’s what we love writing. It’s a career-defining track for us.”

How far did the initial success of Nothing Personal surpass your expectations at the time?
“Thinking back, we were insanely excited during that period. Coming off the back of So Wrong, It’s Right, it felt like things were growing for the band and like we were connecting with more people. We were champing at the bit to keep going, despite there being more pressure around us and the term ‘sophomore slump’ being thrown around somewhat. Not delivering was something we were fearful of, but we wanted to put a new spin on All Time Low and really push the envelope and show what we could do. We were young and not that self-aware, and all we wanted was to make music. We were very driven in that regard. Writing a record and getting out on tour was the aim for us, but the way things snowballed totally blew us away.

You worked with several different producers on Nothing Personal, something that not many rock bands were doing at the time. Looking back, what was that process like, and what kind of impact did it have on the
finished product?
“It’s interesting, because that was never really the plan – the intention was to just work with one producer. But then we hit our stride in terms of writing and it became apparent to us that different producers could bring different things to the table. In the end we thought, ‘Let’s just go for it and do things the way they do in the worlds of pop and hip-hop.’ There weren’t a whole lot of bands allocating work like that at the time. The Matches were one band that were working that way – that’s how they made [2006 album] Decomposer – but they were one of our few contemporaries that were willing to do that. We took inspiration from those guys, and it meant we ended up with a record that had ideas from a variety of different musical worlds. To be honest, listening back to Nothing Personal, I do feel like it lacks a little focus at times and feels a bit all over the place, but that speaks to where we were as artists back then. That album was us figuring out what All Time Low was, what we should sound like, and how to not just write fast, four-chord rock songs. Nothing Personal was us branching out and doing different things for the first time, like adding electronic beats, programming and a ballad – all elements that had previously been missing from our music. The whole process really allowed us to explore our sound.”

Finally, how important do you feel the release of Nothing Personal has been to All Time Low’s success, and what legacy do you believe it’s left?
“Nothing Personal really solidified us as a band and ensured we could have a career. It took us from being a ‘buzz’ act in the Warped Tour scene with a bit of hype behind us, and turned us into a breakout band that was able to tour the world. The release of that album led to multiple festival offers and the prospect that we might some day play arenas. Before then, that kind of stuff was merely a pipe dream for us. Nothing Personal really set us up for where we are now. On So Wrong, It’s Right, we were still trying to find our feet as a band and establish who we were, whereas with Nothing Personal, we burst out of the gates and into a full sprint, and we never looked back.”

It’s Still Nothing Personal: A Ten Year Tribute is set for release on November 8 via Fueled By Ramen.

source: https://www.kerrang.com/features/alex-gaskarth-reflects-on-the-legacy-of-all-time-lows-nothing-personal/

The unheard song All Time Low co-wrote with Blink-182’s Mark Hoppus for 2009’s Nothing Personal is one of the scene’s holy grails. Even Hoppus has nothing but good things to say about the tune: When AP interviewed him last year, he said, “I wrote a song with All Time Low that I think is a great song that will never see the light of day.” So what exactly did happen to the song? Below, All Time Low’s Alex Gaskarth [second from left] gives the full story of the collaboration: how it came to be, what the song sounded like and why it was never finished—at least as an All Time Low song. For more tales of unheard songs and albums, along with bands who never came to be, check out AP #288, on sale June 5.

author: AP

How did you end up working with him?
That’s actually a really good question; it’s all really blurry now. [Laughs.] Actually, it’s a funny story, now that I think about it. Rian [Dawson], our drummer, got a Blink tattoo a few years back. He posted a picture of it online, and I think Mark saw that, I guess, because of the reaction. Mark sent him an email and was like, “Yo, that’s an awesome shout-out, blah blah blah.” As soon as he reached out, we kept in touch, Rian hit him back. One of us, I think Jack [Barakat] or myself, reached out. It was right around the time we started working on the record [Nothing Personal]—we just reached out, shot-in-the-dark style. We knew he was producing and writing for other bands, and put it out there: “Yo, it would be really fun to work on a song together.”

He was into it. We were already out in California working on the album, so he brought us out to his studio, and we sat down and worked on a song together. It was pretty crazy, because when it all happened, it was such a blur. Obviously, Blink is a big inspiration for us; they’re kind of a band that inspired us to start a band. That’s definitely a defining moment for us.

How nervous were you to work with him?
Super-nervous, actually. The first time we met him, me and Jack were hiding our anxiety, but I don’t think we were hiding it very well. We were definitely geeking out in the studio the first time.

What was working with him like? Was it super-collaborative right away? Was he taking the lead? How was the dynamic between you guys?
That was really the first time I had ever really reached out as far as quote-unquote co-writing. But for me, co-writing has never been a handout. I’ve always been the predominant writer in All Time Low, and I’m really controlling when it comes to what we do. That’s a general misconception of our band and how we make our records—even when we have been credited as co-writing, I’m always a massive part of that. I would never take handouts. Despite the fact that I’m terrified and nervous, it was really a collaborative thing from the get-go. I went in with a lyrical, vocal idea and he had worked on guitar parts that sounded super Blink-182-ish, and he played it for me. I was like, ‘This vibe’s perfect; I’m a fan. Let’s roll with it.” 

What was the lyrical conceit of it?
It sounded like a relationship-kind of song, but it was actually about the trail of the scene, and how fans come and go and tend to be very fickle. At the time, Mark was still working on +44 and the members of Blink were in and out of different projects. It was a topic that related to both of us. We were working on this new album and taking co-writes, and people were disapproving. Everybody had an opinion and thought they knew what was best for our band. At the same time, Blink was not a band, and they were going through the same kinds of things—like, putting out music and putting their hearts into their new project and people weren’t receiving it the way I think people should. People weren’t giving anything a valid chance just because it wasn’t Blink—and because we weren’t the quote-unquote punk rock band we were supposed to be. [Laughs.] That’s kind of what the song is about.

That’s funny that your idol, however many years older than you, was going through the same things. It’s cool to find a common ground.
It’s very rad. That was one of the coolest things about us writing together—the topic became very awesome.

Was the song actually finished?
No, not in terms of All Time Low. We demoed it—it was one of the first songs we wrote for that album. It was never recorded as a full band; it was never seen through.

So it was a demo with you and Mark?
Yeah, it was fake drums, one guitar track. Super stripped-down. I still have it on my laptop; it sounds like absolute shit. But it’s a cool song.

Why did you decide to never go through and finish recording it?
It ended up just being the wrong vibe. It didn’t mesh with the other songs; it sort of felt like an outlier. Which happens pretty much every record cycle. Every record we’ve made, apart form our first one—when I think we wrote 12 songs and put ‘em out—every other record cycle, you end up writing more than you need. You have to pick your favorite children, I guess. Some of the children unfortunately get thrown out. [Laughs.]

And you want to put your best face forward and have the best material out there.
For sure. It’s all a matter of perspective—when you look back, maybe the song is better, maybe the song is worse. At the time, it didn’t feel like it fit.

Do you think the song will ever see the light of day?
It’s actually a funny story—I’ve mentioned it vaguely before. Before Blink fully reformed and confirmed they were getting back together, Mark was working on a project with a friend of mine, who now plays in the band Stars In Stereo, this guy Justin [Siegel]. They were a band for a minute—we took ’em on our small-venue tour that we did, it was their first and only tour as a band. They were this band called City (Comma) State. The first form of that band actually had Mark Hoppus in it, and it was a girl-fronted band—but Mark was a dual vocalist/bass player in the band. Justin played drums.

Out of the blue, I got a call from Mark, and he was like, “Yo, man”—and this was probably a year and a half, two years after the song was written. I got a call and Mark was just like, “Hey, been listening to the material we worked on. Would it be cool if the new project I’m working with used it?” So they actually tracked it as City (Comma) State, and it never saw the light of day. It’s a funny story you asked, “Was the song ever finished?” because the one time the song was finished by a band, it was not my band. It has this chick Joanna [Pacitti] and Mark singing on it, it’s pretty awesome.

source: https://www.altpress.com/features/the_lead_all_time_low_alex_gaskarth_blink_182_mark_hoppus/

Being Flecking Records favourites, it was only natural we caught up with All Time Low as they hit the roads of America and Canada on the Bamboozle Roadshow 2010. We met up with Rian Dawson and Jack Barakat, and a surprise guest (Alex Gaskarth) gatecrashed the interview in Toronto, Canada.

author: Tanu Ravi

For those who might not know you, introduce yourselves!
Rian: Sure! I’m Rian, and I play drums in the band and do occasional back up vocals.
Jack: I’m Jack and I sing and play guitar for All Time Low.
Rian: In that order.

So how has the Bamboozle roadshow been going so far?
Jack: It’s been an amazing tour and quite an experience.
Rian: Kind of like a dream come true for us. A lot of our first inspirational bands like Good Charlotte and Third Eye Blind are on this tour, so it’s been cool to hang with them. Dancing with them and singing with them.

What is the most Rock ‘n’ roll thing you have done on this tour? We heard about your mace incident in Texas.
Rian: Yeah, our fans got maced, that’s always been a goal of ours.
Jack: That’s very rock ‘n’ roll I’d say. It would have been more rock ‘n’ roll if we had maced them ourselves.
Rian: It sucked, because we had nothing to do with it really.
Jack: But it’s still a cool story, it’s still rock ‘n’ roll.
Rian: Yeah I guess it is.

Which bands do you enjoy watching the most on this tour? Do you get to watch a lot of bands?
Jack: There’s nothing much to do because we always get stuck in the middle of nowhere.
[Jack looks out of the window over the industrial streets of Toronto.]
So we get to watch all of the bands every day, that’s basically all we do.

Rian: It’s kinda cool. There are two stages, the main stage which has Good Charlotte, Third Eye Blind, Boys Like Girls, so the more lucky bands as it were, and then the side stage has more newer bands who we get to make friends with and hang out with.
Jack: Yeah, they’re bands like Stereo Skyline and Mercy Mercedes.
Rian: So literally all we do is jump on the side of the stage and watch all these bands, and like I said you know we get to watch Good Charlotte, Third Eye Blind, and some of our best friends Boys Like Girls, so it’s been a really good time for us.

If you could host your own festival, who would headline and who would support?
Rian: Pretty much just this tour.
Jack: Plus Blink-182 and Green Day.
Rian: Oh, and maybe Jimmy Eat World!
Jack: Blink-182, Green Day, Jimmy Eat World,
Rian: And Good Charlotte and Boys Like Girls. As for us, we would just open everyday so that we could just spend the rest of the day watching all the bands.
Jack: Weezer!
Rian: Ooh! Drake, Phish!

Who are Phish?
Rian: You never heard of Phish huh? Did you ever smoke marijuana?
No comment.
Rian: Well, they like invented marijuana!

Do you prefer playing huge venues like this one tonight, or do you prefer the smaller intimate shows?
Jack: Well there are probably the same amount of people here that would be at a smaller show anyway.
Rian: Last night we played at a venue just outside of Detroit and the venue was proper for the amount of people. But then there are times when the size of the venue is just not necessary and I think tonight is one of them. Actually this whole tour has kind of been like that. [laughs] But I mean, we didn’t book it, we just play.
Jack: Yeah, we are not Blink-182!
Rian: But it’s still cool. I mean there is definitely a better vibe when it’s more intimate and a venue is more packed out.

Well at least you got this nice dressing room!
Rian: Yeah that’s a good part! We got a nice room.
Jack: But we have no food. We got given four Doctor Peppers and like six waters.
Rian: Yeah that’s our rider for today.
Jack: That’s just what they had left over from the last people that were here.

So you’re always on the road, how do you cope with being away from friends and family?
Jack: Picture messages!
Rian: A lot of picture messages! We’ve been touring since we graduated high school, so it’s kind of been a gradual process. At first we weren’t touring that much, and then all of a sudden it just snowballed, so you just tend to learn to deal with it.
Jack: Sometimes our friends come out and meet us in certain cities and stuff.

Rian: Yeah same with family, my Mum comes to Vegas a lot.
Jack: What was she doing in Vegas?
Rian: I dunno, I wondered what she was doing in Vegas, maybe she works there.
Jack: She works there?
Rian: So yeah, it’s just something you have to do, it’s part of the job. Probably the worst part of it, except for interviews [laughs].
Jack: Actually, I kinda like it. You say it’s hard being away, but I like to get away from people in Maryland who I don’t wanna be around. I mean there’s my friends and my family, then there’s people I get to leave and be like “peace bitch”.

Like who? Gangs?
Jack: Yeah, the gangs and people like that.
Rian: Yeah, inner city gangs.

Let’s play word association!

Jack: Blink!
Rian: Ah that was actually gonna be mine too.

Rian: Wool!
Jack: Bah bah black sheep.

Jack & Rian [simultaneously] – Naked/Nudity [laughs].

Every night.
Rian: Drunk.

Feed The Pony. [In our last interview, we taught Jack and Alex English slang – including ‘feed the pony’. Rian was not present.]
Jack: I LOVE feeding the pony!
Rian: Quesadilla! What does feed the pony mean? Is it a sexual euphemism?

Gary Coleman Rian: De… ohhh! Short!
Jack: RIP.

Jack: Gay.

Jack: Hanson? I thought you said Handsome! Handsome.
Rian: Yeah, handsome guys.

FIFA World Cup.
Rian: Xbox 360.
Jack: Exciting.

Jack: I… like… England.
Rian: Fish – like fish and chips.

Jack: Sexy
Rian: Loud
Jack: Sexy, amazing, loud.

Is there anyone you would like to collaborate with? Rian: Erm, this would be a question probably better for Alex.
Jack: Yeah.
[Alex just so happens to be peeping round the doorway.]

Rian: Alex, who do you want to collaborate with?
Alex: Your butt.
Rian: My butt? No seriously, who?
Alex: Dave Grohl!
Rian: Oh yeah, that’s a good one. Dave Grohl. Kurt Cobain, John Lennon.
Alex: John Legend [laughs].
Rian: Alex looks good today, I was expecting him to be puking everywhere. We had to wake up at 4.30 for the border crossing, we were all too tired to get up and Alex was just wasted watching some weird movie with our light guy Jeff.

So who is the most embarrassing band or artist you’ve got on your iPod?
Jack: Probably Hilary Duff.
Rian: I only know one song by her.
Jack: I have her entire collection.
Rian: Eiffel 65.

They’re not embarrassing, they’re cool!
Jack: They’re not embarrassing?
Rian: The “I’m Blue” song? This is because you’re from England, you’re allowed to listen to that kinda stuff.
Jack: You’re from England?
Yes Jack, the accent should have been a give-away.
Rian: We’re not allowed to listen to that stuff here.

Are there any songs you would love to cover?
Rian: Now that you mention it, I would love to do a Foo Fighters cover, but Dave Grohl won’t let us do it. He doesn’t like the way Alex’s voice sounds. I’m just joking, I’d love to cover “Learn to Fly”.
Jack: I’d like to cover “Hey Jude” by The Beatles.
[Alex walks back in.]
Alex: It’s Hey June.
Jack: Hey Jew?
Rian: Isn’t it Hey Jude?
Yes it definitely is Hey Jude.
Alex: June, it’s June.
No it is 100%, Hey Jude.
Alex: OK [pauses]. It’s Hey June.
Rian: OK, agree to disagree.
Alex: June.

So how do your USA/Canadian fans compare to the UK fans?
Rian: Spoilt.
Alex: Yeah.

Rian: We tour the USA all over like three times a year, and the UK is sometimes only like once a year, so we find when we go over to the UK they’re willing to give it their all. Whereas USA fans sometimes just stand there singing instead of moving around and dancing.
Jack: It’s still awesome.
Rian: Yeah, it’s still awesome but when you go to the UK you just know they’re thirsty for it. I am excited to go back there, for Reading and Leeds Festivals.

What advice would you give to new bands trying to make it in the industry?
Jack: Suck as much…
Rian: Quit!
Jack: Suck as much “quit” as you can.
Alex: Meet everyone you can, play all the shitty shows that you can.
Jack: M-E-A-T everyone.
Rian: Play all the shit shows, play all the one-person-there shows and don’t complain
Jack: And go down on every single record executive.
Rian: That’s a big one
Jack: We went down on [name removed] at least five times each.
Alex: Errgh!
Rian: But then we got signed to Drive-Thru, so we still made it.

Yes you did! So to whoever [name removed] is, fuck him, it’s his loss!
Jack: For the record, we didn’t say that, Flecking did.
Rian: Yeah.
Alex: But on the record… fuck him [laughs].
Rian: Last time we saw him was in Vegas actually.
Jack: He was working with your mum.

What is next for All Time Low?
Rian: We finish up this tour at the end of June, so then we should be finishing up the record, unless Alex shits the bed and goes crazy like lead singers do, lock themselves in a room. So we finish the record in July, we go overseas for August and September and we’ll be back in the USA maybe slash Canada, I dunno. [to Jack] Do you know?
Jack: I dunno.
Rian: [to Alex] Do you know?
Alex: I dunno.
Rian: I dunno, maybe we’ll find out.
Jack: As well as Reading and Leeds we have some other festivals in Europe with Blink-182! And then we’re hoping the album will be out early next year.
Rian: Yeah early 2011. Wow, 2011. We’re all gonna die soon.

Have you seen the film 2012?
Rian: No I haven’t actually.
Alex: It’s all bullshit.
Jack: John Cusack, I like John Cusack.

Who is going to win the world cup?
Alex: Spain.
Rian: Spain lost today to Switzerland.
Alex: Did they really? Spain!
Rian: [After some advice from roadies] Brazil! Brazil or USA.
Jack: Yeah, I’d say Germany.
Rian: Hows your goalkeeper [Robert Green] doing?
No Comment.
Rian: Isn’t he really good normally?
We prefer David Seaman. Why are you laughing Rian?
Rian: His last name is semen. He comes out of a pee pee when it’s not pee.

source: https://www.fleckingrecords.co.uk/2010/06/all-time-low-interview-10.html

From the moment that they dropped their pants and revealed their tighty-whities for a photoshoot at the time of their second album, So Wrong, It’s Right, back in 2007, All Time Low have become that band you cannot escape. And apparently a lack of clothing is also something they haven’t taken off the menu. While you may not expect any troubles to cross path with singer Alex Gaskarth, guitarist Jack Barakat, bassist Zack Merrick and drummer Rian Dawson, who all seem to be the ideal chill, pop-punk band; sometimes lighting strikes.

author: Alison Kopki

Shortly into their current run on The Bamboozle Roadshow, ATL stirred some controversy. At the Arlington, Texas, stop at the Six Flags Over Texas, fans rushed the stage and allegedly security stepped in and used mace on some fans in order to exert crowd control. It would be something that Gaskarth would comment on via his Twitter. A few days after, it was released that ATL would not perform at the other two Six Flags stops of the tour.

With things behind them, it’s only full speed ahead for ATL, who even with their current release, Nothing Personal, having come out last year, are already hard at work on the next. After filling a short tour break with label meetings and a red eye to their next tour destination, Gaskarth spoke on his view of things and the many people in ATL’s corner.

I was told you were in meetings yesterday with your new label. How’s the switch from Hopeless Records been?

Yea, we did. It’s been good integrating over to Interscope and getting everything geared up for releasing our new album and for the future of this band. Everyone’s really stoked on it.

Are you guys seeing any differences with being on a major over an independent label?

Different levels of resources, different sizes like of the team that’s behind you. The decision was just, it felt like on the indie label, we reached the highest point we could reach and trying to tackle things like getting radio and things like that was sort of becoming harder and harder based on the fact that the label hadn’t really done it before. We thought that maybe we hit a ceiling so, it’s to make something work for every party involved and also to launch us to the next stepping-stone.

You mention the next record. How far are you into writing that?

As of right now, we’re halfway through. We have seven songs that we’re recording with Mike Green (Paramore, Set Your Goals). After this tour in July, we’ll be coming back to solidify the second half of the record with Matt Squire (3OH!3, HIM). It’s awesome. So far it’s such a good direction, it blows the last record out of the water in terms of depth and song writing and you know, it’s progress. We’re all really stoked. It’s probably going to come out, we’re thinking early next year probably.

You mention two, but are you going to have more producers like how Nothing Personal had five?

The record is kind of split between Mike Green and the other half is Matt Squire and then Neal Avron is mixing the record. It’s definitely a dream team for sure and we’re really excited about everyone involved.

It feels weird asking about the next about when your current album feels like it just came out.

Yea, exactly, it definitely feels like Nothing Personal never really had it’s full lifecycle yet, but we are trying to get all the songs done and have the thing ready to go, but we’re not ready to throw it out there.

With all the touring, when do you find the time to work on things?

Before this tour started, we did have quite a bit of time off. In that time, I basically was in L.A. writing and once we felt like we had a batch of songs that were good to go, we started recording them with Mike Green. So yea, we have half the album good to go and then the second half will come along in July.

Right now you’re on The Bamboozle Roadshow. How’s the tour been?

Tour’s been great, a lot of fun. I would say every band on this tour has been acquainted; it’s been very social.

The big question pertains to you guys being unable to be at the New Jersey date of the tour. Can you explain a little why you can’t perform on our stop of the tour?

Yes and no. I’m not really allowed to talk about too much at this point—we definitely want to do something to make it up to the audience who we can’t play for that day, but at the same time we don’t want to take away from the other bands’ show. [Which they are at the Freehold Raceway Mall.] In the meantime, all we can say is, we’re sorry we’re not there, but with the way it panned out, I think it’s for the best at the end of the day.

I did read up on your Twitter updates concerning the incident. Do you feel that what you said came back to bite you in a negative way in the end?

Not at all. I said what I said and no, I definitely don’t think it came back to bite me. At this point, it’s more for legal reasons that I can’t talk about things or go into much more details. I stood up for what I believe in and I think at the end of the day I think I did what was right and I don’t think anyone can really argue that. It’s not that I feel that I messed up, I think I did what I should have done. I think everything’s going to play out for the best.

You guys just released a DVD titled Straight To DVD. How does it feel to get it out to fans, especially those who haven’t seen you guys live?

It’s great, it took a long time to make that, so it’s great to see it all come together as well as it did. I think it’s a window into the world of the band and what we do. For the audience that doesn’t really know us, it’s a good way to get into everything that we do.

Any special things you guys did for that show?

It’s laced with everything. It’s backstage footage, it’s the performance in New York, it’s really everything you could possibly want and more. Maybe a little too much nudity.

Did you guys need an R rating then?

Everything’s blurred. I don’t know how it works, but a music DVD doesn’t follow a rating system, so we don’t have to do anything about it.

Speaking of naked bands, I read you were in the studio with Mark Hoppus again about three months ago, what were you guys working on?

Mark and I wrote a song together almost two years ago for our last record and that song never really saw the light of day. So what happened is that Mark has a new project now, which I believe is going by the name City Comma State. Basically we re-hashed that song and they’re using it for that project and I did a little bit of writing on a few of the other songs on the album. It’s something fun that Mark’s doing and it’s an awesome band. The record is awesome and it’s really fun being involved and getting to write some of the jams for the record.

Catch All Time Low at FYE Freehold Raceway Mall in Freehold, NJ, on June 24 and at Nassau Coliseum with the Bamboozle Road Show on June 26.

source: https://www.theaquarian.com/2010/06/22/interview-with-all-time-low-grin-and-bare-it/

Prior to their sold out headline show at the London Camden Roundhouse, Alter The Press! were fortunate enough to sit down with Alex Gaskarth of All Time Low for an in-depth interview.

author: Jon Ableson

Alex spoke to ATP about growing up in the UK, ‘Nothing Personal’ getting to #4 on the Billboard Chart, dealing with success, being given the ‘Blink-182’ tag, signing to Interscope Records, new material, building a moat around his house and more.

Alter The Press: How does it feel to be back in the UK?
Alex Gaskarth (vocals/guitars): Amazing, it’s been incredible and I love it over here. It’s a shame the tour has been so short because it’s over in a couple of days. The kids have been amazing, the reactions have been great; we’ve been doing a lot of radio over here. It’s been a lot of building, which is good.

ATP: You were born in the UK weren’t you?
Alex: Yes. I was born in Harlow and I lived in Toot Hill, in Essex. I lived there until I was six, then I moved to the US. There was a change in job on my dad’s part but I used to come back regularly and visit family. I didn’t go to Harlow much because most of my family is elsewhere, like in Wales and up north.
ATP: It must be great, when you play here, all your family can come out and see you at the shows.
Alex: Yeah. I’ve had a lot of family coming out in Manchester yesterday, and Newcastle, so it’s been good to catch up.

ATP: Touching briefly on ‘Nothing Personal’, number 4 on the US Billboard Chart, 22 in the Canadian Album Chart. What was your first response to this?
Alex: Initially, it was shock. No one expected this to happen; none of us saw it being that extreme. There were predictions that we’d break the US Top Ten, or something like that, but to be number four, was really cool, and speaks a lot about our fan base and how impressive they are.

ATP: Just thinking about the state the industry is in nowadays, considering so many people bought the record; you must think about how many people own it illegally?
Alex: It’s definitely a little crazy, but it’s the nature of the industry now. To me, it’s something you have to suck up and deal with. As long as people have the record, and come to the shows, I don’t really care.

ATP: In reference to that, one example, Strike Gently.com; a very popular website which post links to new albums, movies etc and are known for poking fun at All Time Low, but they hailed you as their favorite band of 2009!
Alex: It was a funny surprise to see that. I always tried to mess with that website, back and forth, but I get what they are doing and find it pretty entertaining myself. It doesn’t so much burden me, as it kind of makes me giggle. I give that website props for what it does, it definitely bends a few rules but it’s the nature of the industry now, as media is going to be leaked. They do ask that people go out and support the bands though.

ATP: How have you been dealing with the success of the band?
Alex: You adjust. It’s definitely weird when people get hysterical, but I don’t think any of us consider us to famous or anything like that. I think it’s a balancing act of keeping yourself grounded and being able to deal with your workload, as it increases because, as the band gets bigger, so does the amount of stuff we are obligated to do. It’s really about wanting to do that. It’s what we are passionate about, so it’s not like it’s a chore. We can still go out in public but it depends, like if it’s a day of the show, and all the kids are in town, it’s very difficult to walk around but, again, it all depends where we are. Like New York City, a town with a big population compared to being in Nebraska. If I get approached in the street, it’s more flattering then anything else.

ATP: It reminds me of the Good Charlotte song, ‘I Just Wanna Live’.
Alex: Yeah. It can be invasive but, for the most part of it, people are generally polite about it.

ATP: But in a rare instance you get the situation where, recently a girl paid to find out your home address, waited outside your house, took pictures of your dogs through your windows and even after that, knocked on your front door asking for a picture with you.
Alex: That set me off a little bit. That, in my eyes, was crossing the line. I think what people forget, is that we are humans, and you forget that you wouldn’t do that to just anyone. It’s like, ‘Why would you do that to one of us?’ It definitely crossed the line, freaked me a little bit, but kids do foolish things. I think she learned from the mistake, based on the bashing that she got from her peers online. It’s more of an eye-opening hint of what’s to possibly come, if the band continues to grow and have the same kind of success. But again, you can’t live your life behind walls. It’s a risk, but it’s not going to affect my life, I’m not going to live my life like a hermit.

ATP: And build a moat around your house.
Alex: Exactly, I thought about that! It’s probably too expensive! I can dig it myself, fuck it.

ATP: Ever since the band started, you’ve been given the ‘Blink-182’ tag about trying to imitate their style with your live show. What do you think about that?
Alex: In a way, I would say they are right. This band was built around the generation of pop-punk bands before us and that was our influence. It’s clearly what this band is driven by, that style of music. The antics you see on stage, we don’t fake that, and a lot of people think it’s something we pre-meditate, and it’s really not. The four of us are just kind of assholes and we have a good time together, if you get us all in the room together, it’s just chemistry. Everyone acts ridiculous and I think that’s the same thing that happened with Blink. I think they were best friends at the time, who liked to push the limits of what they can say, to get a rise, and we do the exact same thing. It just so happens that we like that band and definitely take some flack for ripping them off.

ATP: Going back to what you were saying, about liking to push the limits of what you can say to each other, to get a rise. With America for example, parents trying to find someone/something to blame for their children being in trouble, have you encountered any issues with people complaining about your onstage banter?
Alex: It’s definitely come up. We’ve thought about it before, and I’ve received e-mails from angry parents before, but what I tell them, and stand by to this day, is that we have always done that, that’s been our band from the get-go. I think in the past year, our crowd has gotten younger and it’s opened that door for kids to branch away from The Jonas Brothers and they are like, ‘Oh, this band is a little more real’ and they get more into this sound, with it’s more rebellious attitude, whatever you want to call it. I mean, we have definitely ended up with a lot of younger fans, but we don’t cater our shows towards that. We’ve had that same mentality the whole time. Sometimes, we go a little overboard, but it’s like anything, if you have a twelve-year old daughter who wants to come to our show, as a parent, it’s your responsibility to filter it. You wouldn’t let them see a movie if you didn’t approve of it, it’s the same.

ATP: It’s what comes with the All Time Low package; you know what to expect. If you don’t like it, don’t come to the show.
Alex: Exactly, and that’s how I feel about it. If you get offended easily, don’t show up.

ATP: Any plans for another single?
Alex: Yeah. Radio One (UK radio station) have just debuted ‘Lost In Stereo’ as the single, and the video should be following shortly. It’s going through a couple of re-edits based on the content in the video, which wasn’t appropriate for TV. That song is the next single, it officially drops in March, but Radio One are pushing it and trying to get it out earlier.

ATP: You have officially signed to Interscope Records from the next record onwards. Why the switch from Hopeless?
Alex: Hopeless has been great to us, and we want to make sure people know that, but as an indie label, they can only do so much for our band. We’ve put out an EP and 2 full lengths on Hopeless and between us and them, we feel we have reached the absolute peak that we can with an indie label. There isn’t much more room for us to grow with Hopeless, so we’ve moved on to Interscope. Being that they are a Major, they have more resources to help grow our band beyond what Hopeless could.

ATP: Jack (Barakat – guitarist) has posted on his Twitter that you have been demoing new songs. What can you tell us about the new material?
Alex: I can tell you, it’s similar to ‘Nothing Personal’ but I’m trying to lean a little away from the pop, and focus more on rock now. I’d say the songs are coming out like ‘Nothing Personal’ on steroids. It hasn’t been long enough for me to start writing in some obscure new way, but I would say it’s a little more developed then ‘Nothing Personal.’ With every new record, we grow.

ATP: Any new song titles?
Alex: It’s all tentative but I have a song called ‘Jennifer,’ which is pretty much finished. And, ‘Where I Belong’. Those are the two that stick.

ATP: Are you starting to wind down the ‘Nothing Personal’ album cycle now?
Alex: Somewhat. The album still has some legs on it, regardless or not whether we make this new record sooner than later, it’s not going to come out for a while, but we will still be riding on ‘Nothing Personal’ for the majority of this year probably. I think it has the ability to do that, I think there are some songs that can be videos/singles.

ATP: What is the plan after this tour?
Alex: We are going to Mainland Europe, then Australia for the Soundwave Festival and then back to the US to start working on the new songs.

ATP: Are there any plans for another US or UK tour?
Alex: Yes. We are planning out the rest of the year as we speak. I think there is a good possibility we will be back in the UK towards the end of the summer. We’d love to come back for the festivals, but nothing is confirmed. If that doesn’t happen, we will come back and tour again. There is definitely stuff in the works for a US late spring/early summer tour, but the details are still being hammered out. It’ll be a headline in some form or another.

‘Nothing Personal’ is out now on Hopeless Records.

source: http://www.alterthepress.com/2010/02/interview-all-time-low.html

You almost certainly know who this band is by now, so consider this introductory paragraph over.

This album is All Time Low’s third full-length, and it’s pretty confusing to listen to. It’s confusing because it’s really obvious what’s going on; this is a release consciously targeted at the huge Fall Out Boy / Hellogoodbye / Avril Lavigne market of pop-punk, as opposed to the more indie pop-punk vibes of bands like Broadway Calls.

The strange thing is that this album is pretty close to being good. Some of the compositions, harmonies and compiled melodies are excellent and often highly infectious. Most of the tracks have a good upbeat vibe and are well-executed. This is not ‘bad’ pop-punk by any means, and there are a number of moments where you can’t help but say ‘damn, that’s catchy.’

But, there is a massive problem. This album is horribly over-produced. As a result, it doesn’t just sound like bubblegum pop; it almost tastes of it. It also suffers from following the the terrible trend of containing massive power-pop ballads, making tracks like “Lost in Stereo” and “Too Much” pretty much unlistenable, which wrecks the album as a listening experience. Furthermore, the lyrics are bog-standard at best and pretty forgetable, which puts a massive downer across the whole release.

The track that sums up the album best is lead single “Weightless.” It’s quite a good song and certainly catchy. But after just one or two listens you start thinking, “Damn, this would be much better if…”

And maybe thinking like that is just a matter of taste. But personally, I think it’s more than that. This band could be a very good pop-punk band on their own merits, but instead, listening to them, you get the feeling they are casually slotting into an already established groove and sound that has been done many times before.

Maybe, one day, they’ll break out of their cage and release something really worth listening to.

author: Chris

source: https://www.punknews.org/review/8928/all-time-low-nothing-personal

The guys from All Time Low (Alex Gaskarth, Jack Barakat, Zack Merrick, and Rian Dawson) stopped in to talk withSeventeen about their upcoming tour. Plus we got you the scoop on their dream dates and gifts they really love from a girl!

author: Seventeen magazine

The European tour starts January 23 – check out the album Nothing Personal and see where you can catch a concert on their MySpace.

17: You guys are going to the UK right?

All Time Low: In January we’re going to the UK and Europe, Australia, Japan – Hawaii maybe.

17: You’ve been on tour non-stop, what’s your favorite part about touring together?

ATL: Just the antics. Living the high school dream. We play video games every night. The rock star life died with video games.

17: What’s your favorite date you’ve ever been on or your dream date?

ATL: Aquarium.

Jack Barakat: We’re from Baltimore, the Baltimore Aquarium is like world famous.

Alex Gaskarth: Here’s what you do, you pay the fee to rent out the aquarium after hours.

Rian Dawson: You’ve never done that.

AG: No, I haven’t but I’m planning. This is my dream date. So you set up a dinner in the…

RD: A fish dinner?

AG: Stop messing with my dream date!

Zack Merrick: My dream date would be I would meet some chick on the beach and she’d just be coming out of the water from surfing and I walk by her and we start talking and she’d be like “OK, we’re going to go on a date. I’ll meet you at the water at 8 AM”. That would be pretty sick.

17: So you have a lot of girl fans. What makes them stand out to you at your shows?

RD: There’s this weird thing when people meet bands where they don’t really talk, they just stand there and you’re like, “Hey how are you?” and they’re like, “Eh.” It’s nice to be able to have a real conversation.

AG: I think the worst thing they could do is to be too cool for school. The key to starting any relationship is to be outgoing. Carry yourself with confidence.

17: And what’s the nicest thing a girl has ever done for you?

RD: I’m into more of a personalized gift thing; it’s not so much about money as the thought. Like if somebody makes you something cool. My ex-girlfriend used to paint or make things for me that were like close to her heart which was always really cool. Something with a personal touch is always better.

17: Speaking of gifts, what’s on your holiday wish list?

ATL: Alex always buys all of us gifts and we never give him anything.

JB: This year I will be asking for a private jet.

RD: Alex and I live together and house gifts would be nice.

17: So let’s say, in your biggest dreams – no money limits – what would you get for each other?

JB: A moonbounce for Alex.

RD: For Alex, I would buy a nice petting zoo because he likes animals a lot.

JB: Put the animals in the moonbounce.

RD: For Zack I would buy a room full of original posters of his favorite movies like Home Alone and a plaque with the filming locations of all of them.

AG: And one wall, a movie theatre screen with all of those movies preloaded.

source: https://www.seventeen.com/celebrity/music/reviews/a6670/all-time-low/

There are reviews done for the love, and then there are reviews written because someone has to carry the shovel behind the elephant. When you name your band All Time Low and play pop punk, you most likely represent the elephant. I’m putting on my elbow length gloves and heading for the tool shed as we speak….

Fifteen seconds into Nothing Personal, it’s clear Dylan Thomas and Robert Frost aren’’t writing the lyrics: “I wanna feel weightless, and that should be enough, but I’m stuck in a fucking rut.” Its wondrous “wings” and “soaring” aren’’t also up for discussion. Using the word “fuck” in the first verse of the first song so the kiddies’’ll listen: check. (But only say it once!) Add a drum machine and muted picking before the guitars come in. Don’t forget to add a couple of pick slides down the neck, and make sure to sing through your nose. Yes, yes, and yes. With lines like “Maybe it’s not my weekend, but it’s gonna be my year,” where do you start? These nuggets of wisdom are for the crowd pissed that their mom won’t give them the keys to the Land Rover for the show. Lame, mom! Nothing Personal includes more “Oh’s” than a bowl of Cheerio’s and more “Uh’s” than a pinup photo shoot. When writer’s block hits All Time Low they grunt and moan and call it lyrics.

Just running down the track list, we get pearls like “Damned if I Do Ya (Damned if I Don’t)”, “Break Your Little Heart”, “Keep the Change, You Filthy Animal”, and “A Party Song (The Walk of Shame)”. Calling copulation “doing ya” screams class. “What should we call our song about breaking a heart?” No need to be creative. On “Keep the Change, You Filthy Animal”, we get the literate allusion to Macauley Culkin’’s magnum opus – and are never told exactly why that’s relevant to a song about sabotaging a relationship. And “Party Song”, with the ridiculous aside “(The Walk of Shame)”, extols the importance of one night stands. That All Time Low writes anything that doesn’’t involve their penises deserves a round of applause.

If All Time Low had made Nothing Personal in 1994 when Dookie broke pop punk to the masses, it would be worth noting, but after hundreds of interchangeable pop punk albums since, does 2009 really need one more? Why am I even asking this question? The answer is no! Here’s a pocketful of advice for guitarists: if the extent of your talent is power chords and a major scale or two, you’d be well served to take notes in calculus and finish your homework. Unless of course, you have your sights set on Hopeless Records which is clearly okay with putting out any album about banging teenage girls and getting drunk. (High school is way complicated and stuff!) All Time Low graduated high school in 2006, and that makes Nothing Personal creepy. You wonder about their web browser history. Maybe they’re talking about shallow, meaningless sex with college girls. That raises the bar. I guess that’s kind of punk rock – if Gene Simmons hadn’t been doing that since ’72.

Nothing Personal represents — I avoided a pun as long as possible — an all time low for the band. So Wrong, It’s Right and The Party Scene weren’’t brain surgery but at least they kept the lack of talent quiet. Nothing Personal showcases the void. The slick veneer of Nothing Personal can’t hide the lack of substance. Oh wait, is that a member of All Time Low giving the double-flick salute in promotional material? You so hard. Look we’’ve got a regular Johnny Cash on our hands. My bad.

NoFx, MxPx, Propaghandi, and a stable of pop punk standbys continue to release records worth listening to for pop punk aficionados. Innovation isn’’t an issue in this line of work (which is fine by me). Credibility is. The subject matter undertaken by these bands (particularly MxPx) has changed over the years. Yeah, women are still “chicks”, but politics and the like are on the table now – and at least NoFx knows how to tell a joke.

The unspoken golden rule of music consumption is that you aren’’t responsible for what you listen to as a minor; however, when you turn legal, you better have enough sense to eBay that junk. Nothing Personal (judging by the comments on All Time Low’s Pure Volume page) will be protected under the aforementioned bylaw for almost everyone that listens to it. That doesn’’t mean it isn’’t worth warning people off of All Time Low. Do you stand by and watch a toddler grab a hot poker from the fire? Okay, maybe you do. But at least you have the decency to bandage the hand afterward. Nothing personal, All Time Low, but your album sucks.

author: Alex Young

source: https://consequenceofsound.net/2009/07/album-review-all-time-low-nothing-personal/

Pop-punk has always been a genre spawning favourites for young teens everywhere; Fall Out Boy, Paramore, You Me At Six, the list goes on. Now the torch has been passed onwards to a new group on young hopefuls, All Time Low. Their next full-length ‘Nothing Personal’ is sure to be an album played in bedrooms across the world, and force young girls and boys to plaster their walls with posters of the 4-piece.

Much like albums release by the other popular bands mentioned earlier, ‘Nothing Personal’ follows your classic predictable blueprint when it comes to mainstream pop-punk albums. You’ve got the overly catchy hooks and chorus lines, simple guitar chord progressions, and lyrics about growing up and relationships. First single ‘Weightless’ has already obtained heavy rotation on music channels and radio stations, and opening the album pretty much sets the scene for what else is to come for the remaining 11 other songs. The spiteful relationship ridden ‘Break Your Little Heart’, the slightly alcohol themed ‘Stella’, and Home Alone inspired ‘Keep The Change, You Filthy Animal’ all live and breathe your classic pop-punk forumla of radio-friendly upbeat hits. This however is what brings the record down a bit, offering only the expected and nothing new or fresh makes ‘Nothing Personal’ lacking of what could bring the album out from just your same old run of the mill teen angst collection of songs. Closer ‘Therapy’ is the only breath of fresh air throughout, and comes across as just an album-filler that’s just of place and slightly unfinished.

Even with all that said, All Time Low will have still undoubtedly created what will be the album for summer of 2010. They’re gonna have to mix things up in the future though to avoid getting caught in the shuffle of other wannabes.

author: Zach Redrup

source: https://www.deadpress.co.uk/album-all-time-low-nothing-personal/