The Fever 333 / The F E V E R 333

Hardcore / USA / letlive.|The Chariot|Night Verses
Лучше бы это оказался кавер на Depeche Mode. sad.gif
Цитата: Icerty
не грози Мадридскому Реалу, попивая сок у себя в квартале
Can someone reup "Walking In My Shoes," please?
The Fever 333 - Made An America [EP] (2018)
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mp3, 320kbps

1. Made an America (02:53)
2. We're Coming In (02:16)
3. (The First Stone) Changes [feat. Yelawolf] (03:09)
4. Hunting Season (02:38)
5. Soul'd Me Out (02:45)
6. Walking In My Shoes (02:51)
7. POV (01:54)


[Zippyshare]
[Mystore]
вот это неждан, так неждан ohmy.gif забрал
¯\_(ツ)_/¯
Travis Barker And John Feldmann Present THE FEVER 333
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Late last year veteran music industry manager Peter Katsis, who has worked with everyone from Jane’s Addiction and the Smashing Pumpkins to Backstreet Boys, invited me to come out to the Roxy to see his new band, THE FEVER 333. Thanks to a combination of a pop-up show at Randy's Donuts in Inglewood and viral videos showing the band's incendiary live show, as well as Katsis' track record with previous acts, the show was a sell-out affair with a slew of industry movers and shakers on hand to experience firsthand the growing buzz the built by L.A. supergroup -- Jason Aalon Butler (ex of Letlive), Stephen Harrison (The Chariot) and Aric Improta (Night Verses).

Born from three well-known L.A. bands that have long-standing friendships and have toured together, Butler says he and Improta wrote together often, and Harris sat in with Letlive, THE FEVER 333 was going to happen at some point. These three friends and musicians have been building to this trio for some time.

Then they brought in two additional friends for support, getting the full backing of Blink-182 drummer Travis Barker and Goldfinger frontman/super producer John Feldmann, who have been involved in every aspect of THE FEVER 333, from production to playing with them live.

As Feldmann says, “Travis is THE FEVER, I am THE FEVER.” After months of coordinating interviews to tell the full story of rock’s next superstars, I sat down over the final day of Barker’s Musink festival, where THE FEVER played to a frenzied crowd highlighted by Butler jumping into, starting and singing in the mosh pit, and the next day with Feldmann to get the full story. This is the first and only interview that Barker, Feldmann and THE FEVER 333 have done collectively. With their debut EP being released this Friday, here, in their words, Barker, Feldmann and the trio reveal all.

Steve Baltin: How did all this come together?
Travis Barker:Jason had been in a band called Let Live for a long time and he really wanted to do something new. He didn’t know if it was gonna be a side project, if it was gonna amount to anything. I shared that same passion, especially for the kind of project we talked about doing. So it was really cool just being creative with a like-minded person with the same goal. And John is very good at hooks and melodies and I’m very good at keeping things grimey and more of the hip-hop side of the fever. So it was this constant push and pull that created what is THE FEVER and it’s great. It couldn’t be great without one or the other.

John Feldmann: Travis said he wanted to do something hip-hop influenced because we already had signed a couple of pop/punk artists. So I immediately thought of Jason, who always loved hip hop and was always trying to bring me to that conversation. We set up a meeting -- me, Travis and Jason. That’s how the whole thing started. It was probably May or June of 2017. We wrote “Walking In My Shoes.” Jason wrote these amazing lyrics around the four chords and Travis came in and played this beat. Travis came up with the rhythm and concept for the verse and Jason ran away with the lyrics when we wrote the song. We collectively agreed we needed a very Rage Against The Machine kind of bridge. “Walking In My Shoes” was the first song we wrote together and it’s funny how radio has sort of gravitated to it.

Baltin: How much will you be playing with THE FEVER 333?

Barker: [Tonight] I’ll just play a song. I really want people to learn about the band. I played drums on everything on the album, but I just go up and play “Hunting Season” and kind of set it off. That was a song I had a lot to do with when we recorded it and it’s the banger that everyone goes really f**king crazy. And Aric [Improta] is low key a gymnast, so he gets to do backflips and s**t. He’s great.

Baltin: What made you want to work with Jason?

Feldmann: He’s a one-of-a-kind frontman, there’s nobody like him now, nobody. Probably less than a year into Let Live’s career I saw them play at the Chain Reaction back in the day and I knew through my deal at Warner Bros I could sign the band, produce them and get them on par with, at the time it was like Taking Back Sunday, the Used, Story Of The Year, if the band was open. Jason was open, but the band wasn’t. We did a song together which is a legendary song that no one will ever hear, the best song no one’s ever heard of Let Live. I stayed close to Jason, then when Jason was working at Shinola in Venice selling watches he came to the house and had a come to Jesus talk with me. “What do I do?” So I kind of filed it away in the back of my mind. Three months later Travis and I signed a couple of pop/punk bands and we started developing stuff together. It came to the forefront, Jason Aalon is the greatest frontman probably still relevant, but he is working at a watch store.

Baltin: How are you all working together?

Feldmann: Jason is driving the ship, like that first popup show at Randy’s in Inglewood was 100 percent his idea. And I’m so grateful we filmed it, that show is gonna go down in history. As far as the band it was so organic. Moving forward, I’ve been signed to seven labels in my career as an artist and I know Jason is on his fourth record company he is signed to, so we’ve all got this history with labels that come and go. If you’re hot it matters and you get attention paid to you, but if you’re not you’re selling watches.Like I had to go back to selling shoes when my first band broke up. I knew Jason’s history first hand cause I lived it and for me I wondered, “How does an artist help another artist?” When Goldfinger plays I always bring Jason out to sing and Travis goes and plays drums with THE FEVER, so it is a very symbiotic thing. I’m not pretending Goldfinger’s relevance is anywhere near where Travis’ is, but being able to play to 3,000 kids, like Jason did when he sang with us over the holidays is part of trying to grow a new band,

Baltin: And what will your roles be going forward?

Feldmann: Ultimately, Travis and I signed them to our label, More Hi-Hat, our label together and ultimately THE FEVER are first signed to us even though now we have Atlantic as a partner, which will be really helpful to us with radio, marketing, promotion, all that good stuff. But moving forward we’re all THE FEVER, Travis is THE FEVER, I’m THE FEVER and the band of course is THE FEVER. So we’re all doing this together to write the best songs, to write the best-sounding and most interesting music we can.

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Baltin: What makes THE FEVER special to you?

Feldmann: When I moved to L.A. in 1987 the thing that was most exciting back then was Jane’s Addiction, the Red Hot Chili Peppers and Fishbone, those three bands would play shows all the time. None of them had really blown up yet, but the live shows were so f**king incredible. When I first saw Jason I thought, “This is what’s missing, the excitement in music.” I understand that rappers are the real rock stars in 2018. If you go to Lil Uzi Vert shows there are circle pits, but, for me, as a kid looking at the Clash and seeing four dudes that look like they’re in a gang together making the best music of all time and singing about relevant issues is sorely missing. The FEVER, to me, connects everything cause it’s got hip-hop elements, it’s got a superstar frontman, it’s got the energy of every band I’ve ever loved as a kid and a socially conscious message. We all want to change what’s happening in society and the government.

Baltin:Talk about the messaging as that seems to be so central to the project.

Jason Aalon Butler: Yeah, that’s true. An equally important part of the project is the message. I was talking to someone about it recently and they said, “Yeah, but you are a band first, right?” I said, “I suppose, but I think there is no band or music without that message.” So they are all pretty equal contingent pieces, so the message is the most important thing aside from the auditory sensation people get.

Baltin: But you need the music to attract people and build the platform. Certainly having John and Travis out there helps build that platform.

Butler: I think it’s us making a conscious effort to put that at the forefront of the material and making sure there’s a consistent thread being braided through each song and any message we put forward, whether it be social media, a show, whatever else there is out there. There really was no other way to do it. We’ve all been in bands before, we’ve all tried it other ways and it works to an extent how we did it before. But I really believe that the efforts on this project had to be made this way. It wasn’t like we sat there and concentrated, “How are we gonna use this platform as a catalyst?” It was just naturally how it was with Travis and John. I think we were just really taking advantage and honoring the platform we have.

Baltin: What was the first conversation?

Baltin: The first conversation was myself, John and Travis at John’s house on Super Bowl Sunday last year. We got together and we discussed the state of alternative music as well as popular music. It was almost as if people had missed the memo that Public Enemy and Black Flag weren’t really that different. So we talked about that and then the term we came up with that moved everything forward was black punk rock, “POC Punk Rock.” And trying to find a way to utilize a large platform while staying authentic and genuine. I think that is the most focused, centric part of this whole thing.

Aric Improta: I think the fact we toured together, that’s the most transparent test of a person’s character because you’re put in all these situations on tour, but also you see how the person is night after night and how serious they take what they do and how devoted they are to that specific moment. And I think dealing with a subject that’s as important and heavy as this requires that kind of dedication where every night is as important as the last. When you go on tour you realize there are only so many people willing to put their body on the line and push themselves to a point most people aren’t. I think it was exciting for me personally to get to play with two other people I felt did that every single night.

Baltin: When did you realize the chemistry was there and this collective would work?

Stephen Harrison: I can’t speak from the early, early on days cause I joined as the last of the three, but I know Jason and I, in our older bands, talked about writing and playing music together at some point. It was like, “Yeah, of course, at some point we gotta.” Then I ended up jumping on and I met Aric, we view music the same, we view performing the same, we’re just on the same level in a lot of ways. The first time we performed together it was hilariously perfect, it clicked so fast. I was sure after the first run of songs it was supposed to be this three.

Baltin: What is the core message you want people to get from FEVER 333?

Butler: The thing we’re putting forward is the idea of the three “C’s” -- community, charity and change. I think that kind of encapsulates the idea of giving a f**k about someone other than yourself, which I don’t think [Trump] has exhibited the ability to do, [he has] truly full-blown characteristics of a nihilist, an actual egomaniac, his frontal lobe is f**ked, he’s crazy. I think ultimately there is this large idea of putting in efforts and consideration beyond one’s own and that, to me, is, if you were to distill the message, it would be three “C’s” and those encapsulate the idea of thinking about what happens when you’re not on this earth anymore. What are you doing today to affect tomorrow, next week, next year, next decade, next millennia? There are other bands doing this and I want people to know that and we need them to speak up. We need them to feel like they are being supported and part of this. Not only are there other bands, there are other people, many people out there that feel voiceless, that feel like they don’t have a platform or anyone who has dedicated themselves creatively, politically as a representative. And that’s also what this band is trying to do, we’re trying to offer representation for people to feel like they have a catalyst for change. We, as individuals, are not the catalyst, but the message we carry with us is in fact that catalyst.

https://www.forbes.com/sites/stevebaltin/20...3/#37a3daa62864
Soul'd Me Out прям такой классический letlive, эх. Неплохая запись, рад слышать Джейсона.
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very incredible the album, surely this is not the correct section for this topic, because there are a lot of Rap influences with Hardcore,
rolleyes.gif thumb.gif
Мне очень понравилось. Альбом вне рамках какого-то стиля я б сказал. thumb.gif
мощная епиха thumb.gif
"There’s a melody in everything, I’m trying to find a harmony, but nothing seems to work, nothing seems to fit".
Коллеги, честно если, то как и ожидал: ВЗРЫВ МОЗГА и как человек давно сидящий на музыкальной игле: ощущения, при прослушивании ещё первой песни, сопоставимы с реакцией организма на первые рифы и энергетику RATM. Давненько такого не было и, как выяснилось, организм истосковался! smile.gif
Цитата:
ощущения, при прослушивании ещё первой песни, сопоставимы с реакцией организма на первые рифы и энергетику RATM

согласен, ассоциации с RATM волей-неволей проскакивают smile.gif
"There’s a melody in everything, I’m trying to find a harmony, but nothing seems to work, nothing seems to fit".
в целом так себе, ну если сравнивать с letlive. ну а так вполне себе. Просто я считаю чувак из The Chariot мог бы получше замутить музыку.

1. Made in america (рифаки местами похожи на Rage against the mashine) а так трек задорный на letlive. тоже смахивает.
2. we're coming in (как был электронным говном, с пердящим дисторшеном на одном аккорде и с убогой трёхстрочной лирикой - так и остался говном)
3. (The First Stone) Changes [feat. Yelawolf] (репчина от Батлера ? на кой хер она мне всралась ?)
4. POV (какоe-то совершенно невнятное r'n'b говно)
5. Walking in my shoes (ну можно послушать)

Цитата:
Soul'd Me Out
самый лучший трек с ЕР. За последние несколько лет после выхода Blackest beautiful Батлер смог выдать только это - печально.

на 4 из 10 EP

Это сообщение отредактировал pupspokemon - 25.03.18 в 23:44
по мне епиха норм. жаль, что многое с лайвов не попало. единственный прикол - не понял (The First Stone) Changes [feat. Yelawolf. музло ж просто копия run the jewels одного из последних треков

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55 ответов с 12.08.17 в 1:25
Назад в Emo / Hardcore