#KERRANG! RADIO

[alter-bridge-fanatic]

Myles on his gig-mares

[northern-punk-lad]

I hate kerrang radio but it’s pretty much the only major rock station in England from my knowledge

Like it’ll be all “a radio that doesn’t fuck with the system but first a message from our sponsor GBnews”

[sonics-left-shoe]

Happy birthday Gerard Way keep serving cunt forever and ever 🫶💐🎁🎉

[thedreadvampy]

realising how much of my expansion beyond rock and metal into a wide range of genres is because:

Slipknot crossed over with the edgy/gothier end of 2000s hiphop

Disturbed are just like. The BIGGEST nerds for 80s British pop (they're not alone in that, it's a whole numetal Thing, but I think like a solid 10% of the 80s pop I listen to I first heard as a Disturbed cover)

Lady Gaga was the top 40 artist it was Okay For Edgy Alternative Teens To Like In 2007

Being an Alternative 2000s Teen was in many ways very musically stifling cause it was incumbent upon me to perform disdain for anything deemed too Pop.

I was somewhat rescued by my own gayness (when me and my gay goblin friends discovered CAMP!!!! and got semi-ironically big into Katy Perry and Rihanna and of course Gaga) but mostly I was so aggressively self-policing my music tastes and deciding what to listen to based more on my assessment of where it fitted socially than on whether I like. Liked it.

Catch 13 year old me studiously typing "punk" and "metal" into Limewire and listening to whatever came up. Catch 15 year old me assessing whether the fact that Rihanna is making music videos about murder in black lipstick means it's ok to like top 40 pop. Complicated by the fact that honestly half the biggest Alternative Teen bait acts of the 2000s were pop as hell, and that as above, numetal acts were nerdy musicians with a broad range of tastes outside metal, and it was very complicated for me. It probably took me until I was like 20 to really start to get a handle on what I personally liked musically, rather than what fit my persona (vividly remember being in a goth club when I was like 18 where they closed out the night with Leonard Cohen's Closing Time every time, and thinking like oh man am I allowed to like Leonard Cohen then? having been listening to Leonard Cohen since I was a literal infant.)

Once I let go of the sense of having to like the Right Music, I very rapidly developed very eclectic tastes and music became a really big part of my life. although my friend did recently still describe my music taste as "two genres - heavy and gay" so that 2000s alt teen is still in there big time.

I think it's a normal thing about being a kid. You're developing music taste basically from scratch and there's a world of music out there so it helps to start out with a narrow focus and build a solid few acts, albums or genres you really like and work out from there. But I do regret how much good music I missed out on first time around because even though I liked it I wrote it off for being rap or being too pop or too upbeat. But the good thing about music is that it doesn't go away! I'm still discovering a lot of music that I heard 50000 times when it was on the radio but never really listened to at the time. It's fun!

[x-phonehome-x]

i really don’t wanna hate that kerrang radio interviewer but can you please stop asking fall out boy about tiktok and instead ask about the album they’re there to promote

[visualgodblog]

Good morning

[dreamsbydaylight]

He just like me fr - (grapheme color synesthesia, linguistics, ignoring adhd diagnoses)

[protosstar]

i have GOTTA listen to more skunk anansie... i forget how much i love skin's voice

[musicmags]

[thechurn]

patrick getting mistaken for rivers cuomo at the mall has me in fucking shambles rn

[northern-punk-lad]

I didn’t know there where so many fellow kerrang radio haters on tumblr like it used to be so good now it’s trash and full of GBnews ads

[falloutboyforever]

them > anyone else ever

to you (unfinished, off the top of my head), 2008 / blog, 2006 / the world’s not waiting (for five tired boys in a broken down van), 2003 / kerrang, 2008 / alternative press, 2008 / mtv.com, 2003 / camera-noise, 2004 / popularunderground.com, 2004 / believers never die vol 1, 2009 / fobr journal, 2005 / fobr q&a, 2005 / reading eagle, 2005 / diy magazine, 2013 / fobr blog, 2003 / bbc radio 1, 2007 / believers never die vol. 1, 2009 / fobr q&a, 2008 / x / nohartandsole, 2007 / stagecoachesbecomepumpkins, 2006 / fobr q&a, 2006 / big cheese magazine, 2007 / creme magazine, 2006 / twitter q&a, 2009 / friendsorenemies blog, 2006 / the kids aren't alright, 2015 / fobr blog, 2005 / meelikey, 2008 / rolling stone, 2023 / rock sound, 2023 / to you (unfinished, off the top of my head), 2008

[fob4ever]

i was at a bookstore yesterday that had a copy of the kerrang: living loud book that featured the FOB watergun fight article i've never seen transcribed anywhere so i made a transcript of it for archival purposes. enjoy! from kerrang, may 2005.

For a man staring down the barrel of a loaded gun while wearing just underpants, Fall Out Boy bassist Peter Wentz looks remarkably chipper. Especially when you consider the person about to unload in his face is guitarist and vocalist Patrick Stump, grinning madly despite the fact that fellow six-stringer Joe Trohman has a pistol to his temple. He in turn is firmly in the firing line of drummer Andy Hurley, cackling loudly with his finger hovering over the trigger.

Passers-by stop and stare, waiting for the inevitable, messy climax of this "Reservoir Dogs" scenario. The tension mounts, onlookers brace themselves, the band get ready to open fire. Suddenly it happens.

"Argh!" screams Wentz as several litres of icy water soak him. "That's fucking cold!"

No, Fall Out Boy aren't about to blow each other away, They're having a water fight for K!'s benefit in a car park at the Chicago stop on travelling punk circus Warped Tour, where they're knocking out their "softcore" wares ("We're basically a hardcore band that couldn't cut it as a hardcore band," laughs Wentz) on the main stage alongside big hitters like The Offspring, Avenged Sevenfold and My Chemical Romance. The Windy City is more than just another stop for them; Chicago is Fall Out Boy's hometown, the place where they formed out of the ashes of their old hardcore bands, and where they still live with their parents- who are here for today's show - during the few weeks of the year they're not on tour.

It all started for Fall Out Boy here in 2001 when the members wanted a break from playing in their various bands. Long time friends Wentz and Hurley got together with hardcore associate Joe Trohman to do something a bit less heavy. Following a conversation about avant-metallers Neurosis in a bookstore, Trohman introduced Stump to the rest of the band. When their other bands folded, they took on Fall Out Boy full time.

"We wanted to do things before we were ready," chuckles Peter Wentz fondly of the early days of DIY tours for the benefit of the one or two people who would show up. "We'd plan two-week tours, just to see the world. Nobody would book us, so we had to do it all on our own."

"A lot of bands have scenes to go into and surround themselves with those people," says Stump. "We had no scene, so we would just play anywhere, with whoever."

FOB have come a long way from their humble roots. Right now they're America's fastest rising band. Radio smash 'Sugar, We're Goin' Down' has placed them squarely in the mainstream, having spent three weeks as the Number One song on MTV's 'TRL', a prime-time show usually devoted to pop acts like Maroon 5 and Ashlee Simpson. So dizzying their Stateside assent has been, they had to cancel their recent European tour in order to play the MTV Music Video Awards, where they are also nominated for 'Sugar...'. Thankfully, FOB haven't let the screaming adoration turn them into big-headed twats.

"A piece of shit with legs on it could walk onto 'TRL' and people would still go crazy," laughs Wentz. "That stuff just goes straight by me. With the fast turnover in the music industry, how can anyone have an ego"

Andy Hurley chips in. "You can be today's main stage and tomorrow's trash."

That's to find out tomorrow, though. Today among the madness of trying to plan anything on the Warped Tour - stage times are decided daily by lottery - Fall Out Boy have to try and find time for hanging out with family and friends.

"Three weeks on Warped is like three months on a normal tour," says Peter Wentz.

"Home becomes like Atlantis on tour, you wonder if it actually exists after a while," adds Patrick Stump.

Now FOB are big stars, a lot of old 'friends' have been coming out of the woodwork. Joe Trohman and Peter Wentz have polarised views on those who didn't give a toss back in the day suddenly becoming your pal once you've made it.

"The way I look at it is if someone's a dick to you and you don't know them, so what?" says Trohman. "Just care about who did support you, keep those important people close, not the people who five years ago called you a loser."

"I work the opposite way!" Wentz counters, before adding darkly, "The people I think about most are enemies. My brain works on revenge!"

Though a tight knit group of close friends, Peter Wentz is clearly Fall Out Boy's spokesman. He does most of the talking during the interview and writes the lyrics, and seems like the most driven one of the lot. As well as doing Fall Out Boy, Wentz has also written a book with tattoo artist Joe Tesaure, 'The Boy With The Thorn In His Side'. It's a dark, twisted tale that could have come straight from the brain of Tim Burton.

"I've always been into Roahl Dahl and people like that, and I was friends with a tattoo artist at the time and we came up with this idea to do a book together," he explains. "It wasn't something I felt fitted in with what Fall Out Boy is, I hate when bands do something that's not 'them'. The book is what it is, and Fall Out Boy is what we are."

Despite all thise talk of nightmares and revenge, FOB are upbeat individuals, enjoying their newfound success, while refusing to allow success to go to their heads. They'll tell you they don't like the shallowness of groupies or industry parties, and that the trappings of rock stardom hold no appeal.

"I don't feel like I deserve it," says Wentz in closing. "It's not like, 'this amount of time and this amount of shows = this kind of bus'. I appreciate what we've got. We've toured in a tiny van and it was cool, but now we're having new adventures living like this. I don't feel we deserve it more than any other bands do."

He surveys the sumptuosly appointed tour bus for a moment before chuckling heartily.

"Actually, that's a lie, we totally deserve it more than anyone else! Ha ha!"

[feuerfreiarchive]

RADIO (2019) After getting thrown off the national swimming squad and struggling to find his place in regular society again, young Till Lindemann drank heavily, got into street fights – and found Western rock music. «I listened a lot to radio», he told Kerrang. «Radio on the new Rammstein record is about that, actually. It was a huge thing. There’d be a rock show on a Saturday night, and we’d gather together to listen. We’d hear Led Zeppelin, for instance, and be like, ‘Wow!’» In East Germany, listening to songs from capitalist countries was not really allowed, so they had to do it at night when nobody was around. For Till, this became a way into English. «Of course we would catch some words and try to translate the rest with like a dictionary. So it was really from the basics.» In the video, this illegal window to the Western world is portrayed by the quest for freedom. «The idea was that the music turns the women mad. They listen to the music and want to be free», said director Joern Heitmann in the Making of. «Then comes the long arm of the law. They all march up and scream ‘Illegal!’ They take out their batons - and start swinging at nothing. Because it is art. And that’s the message: it’s a fallacy. You can stop the band, you can ban the music, but you can’t stop the art.» Heitmann used the tradition of summer sales in Germany as an allegory in the video, as the summer sales make people go crazy. In addition, he tried to sprinkle in fun details. «If you look in the store, the radios all have Rammstein names», said Heitmann to DW.com. There is a Schneider, a Kruspe Elektra, and the most expensive one - a Landers stereo plus. «I like stuff like that and I also like it when fans find out.» The use of uniformed men dancing was Heitmann’s way to show how art can change convention. «That was great fun for all of us, and also for the dancers to show that these are all just performances and that we can be completely free, and that we all have female characteristics», said Heitmann. «We break conventions and Rammstein breaks conventions, I break conventions and that all comes together nicely there.» 📷: Jens Koch

x

[m00npill]

[Transcript] Fallen Angels

FALL OUT BOY'S ULTRA-AMBITIOUS NEW ALBUM WILL MAKE THEM ONE OF THE WORLD'S BIGGEST BANDS. SO HOW COME PETE WENTZ IS STILL SO DEPRESSED?

source: x the other page missing ;-;

2007 Kerrang! No.1142

PETE WENTZ is an hour late.

Because of this the first thing you learn about Fall Out Boy is that nothing happens without him. His three other bandmates - singer and guitarist Patrick Stump, guitarist Joe Trohman and drummer Andy Hurley - sit waiting. They're in a conference room on the first floor of the Marriott Hotel in Lowell, Massachusetts, a pretty, vanilla flavoured town 60 minutes north of Boston. The reason the group are here is because in three hours they're due to play four songs in front of 8,000 people gathered to watch the local radio station's Christmas concert. But first they're forced to wait. Because picturing Fall Out Boy without Pete Wentz is like imagining a motorway without traffic.

"See, that's not right," says Patrick Stump. Stump is wearing a small frown and an indulgent smile. It's been said that he has no ego. As you hear him now he's checking out his own entry page on Wikipedia. "No, see, they've got that wrong...

We don't have much time. Fall Out Boy landed at Roston's Logan airport at 4pm. This lunchtime they were in Chicago; by dawn they'll be in Manhattan. The band's ride pulled up in Lowell an hour ago. It's now 6:30. At 9:25, they're due onstage. Before that they need to pose for photographs and answer questions.

"Pete's in his room," someone says. Andy Hurley goes downstairs to the toilet, taking a security guard with him. Fall Out Boy have two security men: one for Pete Wentz, one for the others.

Wentz calculates that he spends 40 minutes out of every hour on the phone. He receives up to a 100 emails a day. He owns a film production company. He's a published author. He owns his own record label. He owns his own clothing line. He's modelled for Gap. He'd be modelling for us if he could be bothered to be here.

But Pete is in his room, laid low with depression. He's sat on the floor "calling random people from [his] home town [Wilmette, Illinois]", people whom he believes will "understand [him]". Problem is, when they pick up the phone he "can't think of a thing to say". All the while it's getting later and later. He feels self-conscious about how to time his entry, aware that he might be thought of as "the asshole American guy in a band". Even now, two and a half hours later, these feelings are still resident in his mind. "It's weird," he'll say. "Although I'm functioning, half of my head is in another place.

Do you see how people might look at you, see your wealth and your privilege and your opportunities, and think: you ungrateful son of a bitch?

"Of course," he says. "I think that all the time. But you asked me about depression and so I'm talking about it. It's the culture we live in."

You don't seem to mind talking about it. "The only problem I have with it is that I don't want people to read this article and go, 'lt'd be so amazing to be depressed! That'd be cool!'. I don't want to create an industry of misery."

These days, Pete Wentz has prescriptions for Xanax, Praxil, Prozac and Ativan. To compliment this, he's taking serotonin reuptake inhibitors (more anti-depressants). In the past, he's been administered anti psychotics. If Wentz were to die tomorrow his coffin would need to be fitted with a child-proof lid.

"Sorry I'm late," he says, entering the conference room, shaking hands. "I'll be your self-conscious rock star for the day." Paul Harries, Kerrang!'s photographer, tells the bassist that we don't have much time. Pointing the lens at his face he tells him it'll need to see his full repertoire of poses. The subject understands precisely what the photographer means, and as the flash lights zap before him he gives him just that. The camera loves Pete Wentz, even if at the moment Pete Wentz hates himself.

He's depressed. You'd never know.

"NOT TO beat up on the press," says Joe Trohman. "But they do tend to take one look at our band and and say, Pete Wentz is Fall Out Boy." Trohman is answering a question as to whether it grates on his nerves that the band's bass player is the one who garners most of the public attention. "Not at all, no. Pete is the public face of the band because we want him to be the public face of the band.

Would you be screwed without him?