BEGIN:VCALENDAR METHOD:PUBLISH CALSCALE:GREGORIAN PRODID:-//EVDB//www.eventful.com//EN VERSION:2.0 X-WR-CALNAME:Sonny at Exit In on Wednesday January 14\, 2009 in Nashvi lle at Exit In - Eventful BEGIN:VEVENT DTSTART:20090114T190000 DTSTAMP:20090112T064414Z SUMMARY:Sonny at Exit In on Wednesday January 14\, 2009 DESCRIPTION:From Event details at nowplayingnashville.com!: Paper Rout e returns to Exit/In\, bringing their smooth\, ambient\, indie rock so und. This show is amazing live\, and a ture treat for any music fan.\n From Buy Tickets at TicketWeb.com:From Buy Tickets at TicketWeb.com: P aper Route Innerpartysystem Sonny January 14th Exit/In - 6pm $10 - tic ketweb.com\nFrom Event details at TrustkillShows.com!:\n \n \n Inner partysystem | 7:00 PM\n \n If Blade Runner ever gets re-made\, Inner partysystem are game to do the soundtrack. "Man\, I hope they do a re- make so we could score it\," laughs keyboardist/programmer Jesse Crona n. However\, even though it seems like a lofty proposition\, after one listen to the band's self-titled debut\, it makes complete sense. Inn erpartysystem craft catchy cyber rock by forging flourishes of electro nica with chugging guitars. Melodies filter through dreamy synth emiss ions as jagged distortion envelopes the sound. It's epic and infectiou s. Also\, the band matches it up with a massive light show on stage th at solidifies their status as futuristic rockers. Cronan stood outside a Holiday Inn in Phoenix and chatted with ARTISTdirect about creating the band's songs\, their light show and much more in this exclusive i nterview.Where do the songs start for you guys? It's cool that the ele ctronic textures are combined with that rock edge.Every song or idea s tarts differently. One song will start with a beat that somebody made. Another will start with lyrics. It all just depends on the idea reall y. I think that it's good to make every song different. If we started every song with riffs or something\, it might be repetitive. It goes f urther than us just sitting in our houses programming. We took it to a couple different producers. Each producer and engineer that we worked with basically taught us something. We worked with Mark Needham\, and Alan Moulder mixed a couple of tracks. Just seeing what he does as fa r as mixing was a whole learning experience. Working with Stuart Price \, getting to sit on his couch and having his wife make us sandwiches while working on tracks\, was fucking awesome. It was such a great lea rning experience for us\, and it only makes us better.Was there one vi sion for the whole album from start to finish?To make good songs—tha t's about it. Everything else worked out after that.Considering your b and name is from 1984\, are you guys big George Orwell fans?Yes! Basic ally\, we seriously printed up seven pages worth of potential band nam es that we all thought of. Then we went through the list and crossed o ff the names that we thought were shitty\, keeping the names we though t were cool. That was one of the names that stood out. It made the cut obviously [Laughs]. We got band names from everywhere\, and we whittl ed it down to that.It ties in with the band's aesthetic because you ha ve that futuristic vision.I definitely think that. Looking back on it now\, that's the best band name we could've chosen because it ties int o everything we're trying to do and everything we're all about. There' s a real cinematic quality to the album.That's much appreciated\, man. Thank you! I can totally agree with that. It would be awesome to make a short video for each song and maybe put those out as well—like a DVD disc of the album. The lyrics were all about telling stories. It's not just like each song is a random story. Most of the stories that a re in the lyrics have happened if you can dissect them and read into t hem. All of those stories have definitely happened to us\, and they're part of the record now. Personally\, my two favorites are "Last Night In Brooklyn" and "Structure" because I love how slick they are as far as production and writing go. I like "Everyone is the Same." It's a s olid track. It's not too flashy as far as production. It's just a good \, solid song. Those are probably my three favorites. Do you attribute the sonic experimentation to using different instruments or methods o f production?We're trying to come up with sounds that haven't been use d before and just do something different. For this record\, we used a lot of soft synths and plug-ins. We used a lot of downloadable program s. It's all about not using these typically. We used Reactor and other similar programs. With programs like that\, you can manipulate sounds however you want and it's still flexible. There were times where we'd fuck with the sound of a synth for three hours until it was right. It 's about making sounds that are new to us and new to the listener.How does the sound transfer to the live setting? Are the songs hard to pul l off onstage?The defining moment of us really figuring out the songs live came when we played the Hiro Ballroom in New York City at the end of last summer. Basically\, after we were done playing that show\, th e DJ came on and basically blew us out of the water. It was just a fuc king DJ! We have a live band. We should be sicker than a DJ just spinn ing tracks. It was at that moment that we were like\, "We're doing som ething wrong here. Our songs aren't coming across quite as they should be." We make our songs a little bit sicker\, heavier and more aggress ive live. We have a whole light show that's totally synced to all the songs. It's a multi-sensory experience\, if you will.“ It's about ma king sounds that are new to us and new to the listener.”What's the d eal with your light show? Word is\, it's pretty amazing.That's me and our sound guy Andy\, who's our singer Pat's older brother. We basicall y came up with the whole idea and programmed it. We've been doing cons tant revisions and upgrades obviously\, but we're up at about 200 hour s programming it. We make sure it's right on time with every hit of ev ery song. I was a light guy at a club before this\, so I learned some things from that. Andy's just a fuckin' boy genius. So we just figured out how to make the best possible light rig for the budget.Do you hav e your own light rig that you bring out?Oh yeah\, Andy actually built it. We have sixteen LEE's in these five cabinet size boxes that Andy b uilt. We have eight moving lights\, and we have two strobes and two la sers. It's all totally sick. It's fun for us to play and it's fun for the crowd to watch. Nowadays with the decline of sales of actual physi cal music\, CDs and whatnot\, everybody can just download your album a nywhere\, so the live show is where it's at. You've got to come out th e gates kicking ass\, and that's what we want to do nowadays\; that's what we've always wanted to do. You have a metallic vibe in some ways. We're definitely into a lot of heavy music as well as electronic musi c\, so that definitely shows in certain songs. It's nice to change up what we're doing at any time\, and that makes it more fun for us in ce rtain ways.—Rick Florino10.20.08\n more >>>\n \n \n \n Paper Rou te | 8:00 PM\n \n PAPER ROUTE:://:: (as told by Chad Howat) I was ti red. There was just this lingering sense of exhaustion in the summer o f 2004. I was tired of false starts. Tired of dreaming. Tired of being jaded. Tired of being tired. So it seems fitting that this story begi ns underneath my bed. You may picture me crawling below my mattress\, but in reality my bed is about 6 feet above the ground-enough space fo r a small iBook and some cheap monitors. When I couldn't sleep\, I'd d escend my steps and make music all night. Some bands have LSD\, others have cocaine\, and our drug of choice seemed to be insomnia. I progra mmed\, played bass\, accordion\, synths and even snuck into an undiscl osed location masquerading as a music student to record piano. JT Daly \, a close friend and old band mate\, started coming over to sing\, dr um\, and play bells. We had always dreamed about doing a project toget her and finally it was becoming a reality. After a month or so went by \, Andy Smith\, another close friend and ex-band mate who lives above me\, started coming downstairs and contributing vocals\, guitar\, harm onica\, and some synths. A band had naturally formed between the three of us and we were making music together\, once again. One day our fri end Kate York stopped by Bottom Bunk Studios\, as it came to be known\ , to check out what we were up to. Well she liked what she heard and w ound up lending her gorgeous voice and melody to a song. This inspired us to tap into the deep resources of Nashville\, fully knowing we wer e surrounded by such great musicians. One of those great musicians is Mike Daly\, our favorite lap steel veteran who came over and set up sh op in my bedroom. He also played dobro\, much to our delight. Another friend\, Claire Indie\, brought her cello over one evening and played beautifully. Before we knew it\, we had recorded a handful of songs in my apartment. Oh\, and we all played Rhodes\, but we can't remember w ho did what\, specifically. Once we had completed the songs\, JT desig ned different covers for each track. Usually this meant he sat the flo or and worked on art while I was mixing at my desk. So its 2007 and th is EP is what we have to show for the sleepless nights. We hope that y ou enjoy it as much as we enjoyed creating it.\n more >>>\n \n LOCATION:Exit In @ 2208 Elliston Place, Nashville, Tennessee 37203 Uni ted States SEQUENCE:1231742654 UID:E0-001-018800734-4 URL:http://eventful.com/E0-001-018800734-4 END:VEVENT END:VCALENDAR