All Get Out

All Get Out

“Where I’ve been is irrelevant,” Nathan Hussey sings on “Room To Talk,” the first song from All Get Out’s second-full length album, Nobody Likes A Quitter—and he’s got a point: It’s been a long five years since his Texas-by-the-way-of-South-Carolina indie-rock band released their now-cult classic The Season in 2011, but the details of how Hussey got from then to now are less important than the fact that Nobody Likes A Quitter even exists. (For those keeping score, it involved stints working on a farm and in a coffee shop—”nothing very fulfilling.”)

“I eventually realized I had nothing else but music,” he says.

Produced by and co-written with Manchester Orchestra’s Andy Hull and Robert McDowell, Nobody Likes A Quitter (released through Manchester Orchestra’s Favorite Gentlemen label along with Bad Timing Records) was written and recorded over the course of a year and, as such, as is a highly collaborative yet entirely cohesive effort from the three longtime friends. Hussey traveled to Atlanta every few months to work on the album with Hull and McDowell at their studio, then he’d return home to Texas to tweak and ruminate on the material they’d created together. This process allowed the trio to marry intense bursts of creativity with periods of thoughtfulness and care.

“Those guys have so many ideas, and there’s a level of trust involved,” Hussey says. “Robert’s musical knowledge is insane, and he’s willing to sit down and figure anything out. He always does shit right. Andy will definitely tell you if something is bad, and that really became the spirit of things while we made the record. I learned to be that kind of person from him—not only in life in general, because he’s a close friend, but also in the music world. He really lit the fire under me to have an opinion.”

Compared to the palpable aggression of The Season and 2015’s Movement EP, Nobody Likes A Quitter is a more nuanced and restrained affair—but it’s no less vulnerable or emotionally exhausting. That visceral angst has been replaced with introspection, as Hussey has learned to channel the passion that permeated his last two releases and articulate it more eloquently.

“I couldn’t write like a 21-year-old,” he says. “When I started writing this record, I was 29. I had to accept a few things: I had to accept what the record was sonically. This is where I am. I sound a little softer: I don’t have angst; I have worry. I’m not angry at other people; I’m concerned with myself. Andy really held me accountable to the meaning of the songs. We’d go over lyrics and he’d ask me, ‘What are you trying to say? This is what it sounds like to me.’ We would dig through the lyrics together, and I’d figure out what I was really trying to say. Andy is really into the details. He knows their song titles and track order before they even go in the studio. With me, I tend to go in and say, ‘Let’s let it happen!’ But when you’re someone who’s waited five years between records, maybe it’s time to try the opposite.”

Hussey’s soul-searching takes many forms over the album’s 10 songs, whether he’s reaching into his past to address personal relationships—many of which take the shape of former All Get Out band members (“Get My Cut”)—or trying to wrap his head around universal themes like ego, guilt, doubt and self-fulfillment (“Home”). At its core, Nobody Likes A Quitter is about coming to terms with yourself and who you are, about realizing that even though you might not measure up to your idealized self, your faults and flaws are ultimately what make you human.

“I’m finally becoming aware of who I am,” he says. “There’s a sense of disappointment that comes when you figure out who you are in a way. You find out what you’re made of. It’s like the first time your fight-or-flight reflex is tested, and it turns out you’re a flight. Instead of going, ‘Oh no, I’m a flight,’ it’s ‘Hey, I’m a flight. It’s who I am.’ It’s also learning that ‘I don’t know’ is sometimes a completely reasonable answer.”

What Hussey does know is he never wants to wait half a decade between releases ever again. Now experiencing a period of prolific creativity unlike ever before, his attention is squarely turned toward the future of All Get Out. It took him a while to revisit the project, but sometimes you have to detour through life before returning to things that are truly important.

“You give up a lot to do this: plans and time and commitments,” he says. “There’s definitely a sacrifice you make, especially as you get older and watch other people’s lives happen—but I know it’s good. I know the records we have are good. I know people like the band. It’s something with integrity to it, so I know it’s not worth letting go.”

For HOMESAFE, progression begins with a nod to the past. On One, their debut LP for Pure Noise Records, the band dug deep into their ’90s rock influences, marrying high-octane guitar riffs with buoyant choruses and threadbare attitude that demands listeners’ attention.

The result is an album that stands up squarely to the sound of right now but shines with an aura of timelessness, one that effortlessly pays tribute to bands like Foo Fighters and Third Eye Blind without appearing regressive.

It’s a musical style the Chicagoland band—vocalist/guitarist Ryan Rumchaks, vocalist/bassist Tyler Albertson, drummer Emanuel Duran and guitarist Joe Colesby—have forged through years of relentless touring alongside acts like State Champs and Knuckle Puck (for whom Rumchaks plays bass) and past releases (2014’s Homesafe, 2015’s Inside Your Head and 2016’s Evermore), but it’s never been as calibrated as it is on One.

“We were 17 and 18 when we started the band,” Rumchaks explains. “We’ve just grown so much as people, and that reflects in the music we’re writing.”

“When we first started touring, it was a really big growing experience,” Albertson adds. “This record shows us having seen a lot of the world and starting to form a lot of views about it. I think our old music was more homebody.”

Indeed, there’s a great big world out there beyond the Chicago suburbs, where the group of high school friends began jamming in basements and garages in 2014. The band’s expanded perspective shines on songs like the fiery political salvos “Sadistic Society” and “Suits and Ties,” the sound of Homesafe finding their voice about the world at large and, more importantly, not being afraid to use it. These moments are later balanced by One’s more personal entries—like the breezy “Vanilla-Scented Laser Beams” and sprawling ballad “Sideways Sleeper.”

In the end, balance is integral to the songs on One. It’s been a busy four years for Homesafe, and with all the miles logged and fans gained come hearty doses of reality: homesickness, self-doubt, a longing to make sense of the world at large. But One isn’t afraid to wrestle with those topics, knowing the resolve to confront uncertainty is always stronger than doubt itself.

“As young adults finding our place in society, we’re looking for ways to cope with everything going on and looking for a sense of understanding,” Albertson says. “On a small level, that’s personal relationships—broadening out to the way we see the world around us. The world has changed so much in the past two years, more than any of us have ever seen.”

Household is an American melodic punk and "indie-coated emo" band from Minneapolis, Minnesota, formed in August 2013. The band's members are Joshua Gilbert (vocals, bass), Matthew Anthony (drums), and Nathanael Olson (guitar).

On December 6, 2018, Household signed to Equal Vision Records. They released their second and latest album, Everything A River Should Be on February 23, 2018 through Equal Vision.

Household was previously signed to Blood & Ink Records, releasing their first EP, With and Without on September 30, 2014, and their debut full-length album, Time Spent on September 25, 2015, both of which were received well by reviewers. Household also released a split EP with Infinite Me on May 5, 2017.

AltPress cited Household as one of the 18 bands to watch in 2018, describing their sound as "charismatic yet somber, emo yet uplifting." PureVolume called Household "one of the best new bands to come from the Twin Cities."

Sunsleeper is an emo rock band from Salt Lake City, Utah. The band formed in 2015 and spent the first year creating their sound. In March 2016, they teamed up with producer Nathan Hussey (All Get Out) and Andrew Goldring to record their debut ep 'Stay the Same.' They self-released the EP in July of 2016 and spent the next year touring the west coast and Midwest multiple times and building up a solid following and gaining over 200,000 online streams.

Sunsleeper spent the fall of 2017 at home writing for their first full length. They teamed up with producer Nathan Hussey again and spent three weeks in Port Jefferson, New York recording with Mike Watts at Vudu Studios. The awaited full length will be released at the end of 2018 and will be followed by extensive touring.

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