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We're Not Listening
Let's Go! - The Max, pt. 4
Things got a little personal after “Skatterbrained!” was released. As they toured the country and flew to Europe with ska-punk brethrens Up in Arms and Matchboxingmatch, they were being exposed to people who didn’t know them for a hole in the ground, and they were discovering music that was already starting to influence a new direction.
Ian liked writing happy songs, despite the occasional provocative tune finding its way into his notebook. The truth is, you can’t be happy all the time. Lyrical dissonance is something that plenty of bands use for effect and they can even make it into something funny and golden. (Case in point, Say Anything and Reel Big Fish.)
And The Max was perfectly fine to open up and try new things, just as long as all of the members would have a part to play in the next show, and just as long as they kept some ties. The songs they worked on immediately after their first full album were already starting to shine. They played a few every so often as they toured vigorously; people were still dancing.
It was still happy music. There weren’t enough rainclouds in The Max to cover up the sun that beamed from each member. But rather than just making cookie-cutter contrived songs about smiling and looking forward to tomorrow, there were songs about looking at the past. Maybe yesterday wasn’t so good, but hey, there’s always the next day, and it’s gotta get better, right? Realism is important when being optimistic.
2006 saw the release of “Let’s Go!”, The Max’s third release and second EP. Though there were only four songs, they made a music video for the single, “Let’s Go!” and reeled in some new listeners who appreciated their effort to keep their heads up high in an era so obsessed with romanticizing sadness.
In a way, the title was symbolic. The Max were letting go of some of their roots and moving on with their new knowledge and inspiration, running towards the sun at the speed of light.
The hype surrounding the up-and-coming band had landed them a spot on one of the smaller stages of The Twisted Tour in 2007, an annual summer-long rampage across North America that gives tiny bands the chance of a lifetime and massive musicians a place to shine in their element. Devoted fans were eager to see The Max follow their dreams, and folks who caught snippets of their set didn’t leave the concert with a bad taste in their mouths.
People are eager to say that ska’s not dead. How can it be, what with Streetlight Manifesto going strong and Mustard Plug closing in on two decades of excellence? It’s nice when real physical proof manifests itself to defend that statement, and The Max was determined to be one of those examples.
Ian liked writing happy songs, despite the occasional provocative tune finding its way into his notebook. The truth is, you can’t be happy all the time. Lyrical dissonance is something that plenty of bands use for effect and they can even make it into something funny and golden. (Case in point, Say Anything and Reel Big Fish.)
And The Max was perfectly fine to open up and try new things, just as long as all of the members would have a part to play in the next show, and just as long as they kept some ties. The songs they worked on immediately after their first full album were already starting to shine. They played a few every so often as they toured vigorously; people were still dancing.
It was still happy music. There weren’t enough rainclouds in The Max to cover up the sun that beamed from each member. But rather than just making cookie-cutter contrived songs about smiling and looking forward to tomorrow, there were songs about looking at the past. Maybe yesterday wasn’t so good, but hey, there’s always the next day, and it’s gotta get better, right? Realism is important when being optimistic.
2006 saw the release of “Let’s Go!”, The Max’s third release and second EP. Though there were only four songs, they made a music video for the single, “Let’s Go!” and reeled in some new listeners who appreciated their effort to keep their heads up high in an era so obsessed with romanticizing sadness.
In a way, the title was symbolic. The Max were letting go of some of their roots and moving on with their new knowledge and inspiration, running towards the sun at the speed of light.
The hype surrounding the up-and-coming band had landed them a spot on one of the smaller stages of The Twisted Tour in 2007, an annual summer-long rampage across North America that gives tiny bands the chance of a lifetime and massive musicians a place to shine in their element. Devoted fans were eager to see The Max follow their dreams, and folks who caught snippets of their set didn’t leave the concert with a bad taste in their mouths.
People are eager to say that ska’s not dead. How can it be, what with Streetlight Manifesto going strong and Mustard Plug closing in on two decades of excellence? It’s nice when real physical proof manifests itself to defend that statement, and The Max was determined to be one of those examples.