Message from Tony
So I'm including a little back-story on this album and song since alot of you aren't familiar with us, and because alot of people seem to like this kind of thing, including myself. This record was recorded in three sessions in over a years time, not a typical schedule you'll find in the manual for beginning indie-bands. We did one session ourselves with Marc McClusky before ever getting signed. Then, we did a second session with Marc and "officially" signed about two weeks in. (We then went to the Rock N Roll McDonalds to celebrate. Jared even bought me a milkshake) And then just recently we did a third session with Mike Green to round it out. Basically after we got the original 11 tunes done, we decided the record wasn't 100 percent. We didn't feel it was a start to finish record that you hear every artist talking about. So we basically begged the label to send us back in to do more songs. They obliged and we couldn't be happier about the resulting tracks. In all honesty, and being as biased as can be, I really think we managed to come up with a record that doesn't stop. That also depends on whether or not you're into a ballad. But if that's not your jam, it's at the very end. With that being said, Heartbeat From Hell was a song we recorded with Green during our third session. The interesting thing about it is I started writing this chorus while we were in the studio getting the mixes done for what we were assuming was the final record. I was just sitting in the lounge and came up with the melody and lyrics and was just like, 'shit, this song is going to be good and I came up with it during mixing. Terrific timing.' So fast forward to many months and moons later and we get the call while we're out in California that we're heading into the studio with Mike Green to do three songs, we have a day to practice and get our shit together. In the period of time between writing Heartbeat and heading in the studio with green, we had written several other tunes and had come to a point on that song where we just didn't know what to do. The verses weren't working out, we knew there was a chorus you could sink your teeth into but beyond that we were struggling. So for all we knew we had three other songs worked out to record. We go into the studio the next day to meet with Mike and start pre production and he starts playing an acoustic version of Heartbeat I had done. We were all like shit, we didn't even work on this one, we assumed it was scrapped for the time being. We had stayed in the studio until probably 3am the night before working on a tune that wasn't even going to be recorded and had completely neglected one he was hoping to do. He was just like, 'No, this is a funsong we need to do it.' Basically he just goes, 'Why don't we take this intro and carry it through the verses.' So we all looked at each other sheepishly, wishing we had come to that conclusion originally and promptly agreed. The next thing that was adding the galloping snare beat which we were leary of, basically because we aren't cowboys and the only visual that the beat lent itself to was all of us galloping on horses in the desert. It was a fun thing to try but we weren't sure if it was something we could pull off with straight faces. But as layers were added, and vocals were added, it just made sense and the result, we feel, was way stronger than we ever imagined. The one thing I think is cool about this track, but not intentional, is there is no outside instrumentation on this song. No samples or anything, which a lot of our songs have, but only if we thought it needed it. Everything you hear on it we recorded ourselves. Even the vocal effect right before the last chorus was me doing a ridiculous 8 part harmony and Green adjusting the knobs so it sounded bad ass. All in all, this is one of my personal favorites on the record and I hope you guys all enjoy it. The record comes out July 24th so buy it, burn it, download it, whatever you want as long as you enjoy it.
Just like a scene from a movie, the timing just isn’t always right for two people. When Tony Bush and Jon Ewing met in high school in Charleston, West Virginia, they played in a few bands together, instantly struck by the symmetry between Tony’s vocals and Jon’s guitar riffs. But college intervened and the guys went their separate ways -- Tony off to Bowling Green and Jon sticking closer to home, attending the University of Charleston. Both expected their musical enterprises to go their separate ways.
“I thought the whole school situation sucked,” says Ewing. “I thought ‘I don’t want to do this! I’d much rather do music!’ I wanted to start a band and I wanted to actually get serious with it.” Jon met someone else to play with, a guy named Luke Delpapa, who was a fellow guitar player. They got together to write songs and start a band, but the two guitarists weren’t much more than melodies without rhythm or harmonies. “We needed a singer. Or a bass player. Or both,” laughs Ewing.
Testing out bass players proved frustrating, but more aggravating was not being able to find a singer who fit their pop-punk mentality. Their only gig was an appearance on the back of a parade float. They knew they needed a front man. Now. Suddenly the timing was right for Tony -- with a little push from Jon and Luke. “The only person I knew who could play bass and sing was Tony,” says Ewing. “I pretty convinced him that quitting school and coming back to play in a band with me was a great idea.”
On the last day of Ewing’s freshman year, school finally paid off as he met their drummer, Jared Miller. Scenes from a Movie was born...sort of. The boys finally recruited a fulltime bassist, Adam Triplett, because, as Bush unapologetically acknowledges, “I’m just not good enough as a bassist.” Their lineup was complete. Scenes from a Movie made the rounds playing with bands like The Starting Line, Midtown, and Boys Like Girls before scoring a coveted spot on the 2007 Warped Tour. These late-teen, early-20’s pop punkers recorded their debut album The Pulse with Marc McCluskey and Mike Green, inspired by the hard thrashing bands of their youth -- “I listened to a lot
of Metallica, NOFX, Black Flag, The Ataris,” says Ewing, “But when I discovered Green Day I thought it was the sweetest thing on the face of the Earth.”
Scenes From A Movie is chock full of sure-to-be-hits songs, penned mostly on Bush’s acoustic guitar then plugged in giving their songs an intricate, but amped up quality. “Most of the lyrics aren’t totally literal to something that happened to me,” says Bush, “But they are inspired by something that did.” But Scenes From A Movie isn’t just about Girls (the assaulting pummel of “The Cover Up”), Girls (the highly danceable, piano infused “If It’s My Game Then I Can’t Lose”), Girls (the 80’s synth-tinged semi-ballad “Goodbye Reckless”).
“I wrote a song about dying called ‘If I Die’,” says Bush. “When you listen to it, the lyrics are super literal, but it was inspired, kind of, by a family member that died. I’ve been trying to tackle all sorts of topics on our songs -- not very happy topics, mind you.” Still, this ain’t emo. “They’re not whiny sad songs. I’m singing about sad topics, but in a way where you can feel positive about them.” The pop-punk stylings, fast rhythms, and don’t mess with us vocals of Scenes From A Movie are sure to garner the attention of fans of bands ranging from Fall Out Boy and Panic At The Disco to Alkaline Trio, but the release of their hot debut is hardly the final page of the script.