{"id":1203,"date":"2017-09-07T13:00:18","date_gmt":"2017-09-07T13:00:18","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/interview-being-as-an-ocean\/"},"modified":"2018-03-21T22:07:31","modified_gmt":"2018-03-21T22:07:31","slug":"interview-being-as-an-ocean","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/interview-being-as-an-ocean\/","title":{"rendered":"Interview: Being As An Ocean"},"content":{"rendered":"

\"\"<\/figure>\n<\/p>\n

“It feels good to have the control back in my hands”<\/h1>\n

It is human nature that relationships are complex. You agree on some things and disagree on others. Relationships of any sort come and go, some more important than others. Within the music industry, relationships between bands and labels continue to be challenged; streaming services don’t give enough financial support for bands, and crowdfunding and independent platforms such as Bandcamp are now used by many bands, both established and emerging. Nevertheless, for a lot of bands having artistic control is far more important than financial gain.<\/p>\n

One of those bands is Being As An Ocean<\/b>. Since forming out of California in 2011, they have built a steady following with their brand of emotional post-hardcore. With three full-lengths to their name, in early 2016, they joined Equal Vision Records, a label with a long history of working with a host of alternative bands. While at first the relationship between band and label seemed normal; a fourth full-length was in the works. However, 18 months on from joining the label, Being As An Ocean<\/b> bought out their contract from Equal Vision and are now independent.<\/p>\n

\u201cI\u2019ll say that we were pumping out stuff that we thought was ground-breaking and we never really felt that same energy back at us from the industry. I think that we had some differences and that the delay was a symptom of those differences; not the cause,\u201d<\/i> says lead guitarist Tyler Ross when we recently spoke to him about parting ways with EVR.<\/p>\n

<\/p>\n

The delay Ross refers to is their long-awaited fourth album, ‘Waiting For Morning To Come’<\/i>. Originally pencilled in for a June release, the months leading up to the rumoured release date saw radio silence from the label with BAAO<\/b> posting the occasional image online. Eventually, it led to Ross using his life savings to purchase the album from the label, and although he admits a risk to becoming an independent band, Tyler, along with band mates Joel Quartuccio (vocals), Ralph Sica (bass), Michael McGough (guitar) and Anthony Ghazel (drums), are confident in taking full control of their career.<\/p>\n

\u201cI know the music is good though; I know that people want to listen to it, and so I\u2019m not worried at all. It feels good to have the control back in my hands. I don\u2019t think I\u2019m going to be giving it away anytime soon,\u201d<\/i> Tyler explains.<\/p>\n

Without a doubt, ‘Waiting For Morning To Come’<\/i> is the start of a bold new chapter for Being As An Ocean<\/b>; both \u201cas a business\u201d<\/i> and creatively. The two songs released so far are a stark departure from the guitar-dominated material of old. ‘Thorns’<\/i> is a sweeping, atmospheric number that makes use of a sample of Justice Vs Simian’s ‘We Are Your Friends’<\/i>. Tyler suggests it’s just one of many samples used throughout the record, \u201cyou\u2019ll see stuff like that all over it; some could be more obvious, and some are a bit harder to find.\u201d<\/i><\/p>\n

While ‘Black & Blue’<\/i> could be considered as the bridge between the old and new BAAO<\/b>; Quartuccio’s emotionally-charged barks and McGough’s soothing melodies are complimented by brooding instrumentation. Nevertheless, from speaking to Tyler we get the impression that BAAO<\/b> look to challenge listener’s expectations on ‘Waiting For Morning To Come’<\/i>. \u201cMy best advice is to put your headphones in, go for a walk in the city and just play the whole thing,\u201d<\/i> he explains.<\/p>\n<\/p>\n

At \u201cthe business end\u201d<\/i> of BAAO<\/b>, Tyler and company optimistic about what they can do next; \u201cI\u2019m at the point where I\u2019m like, ‘How far can I push it? What can I do here to shake things up?’\u201d<\/i><\/p>\n

The element of having complete control has also affected their live show. With a return to the UK set to take place in November supporting Stick To Your Guns, Tyler says the band’s show is very different; one that is delivered with more precision. He explains, \u201cwe do a full light show wherever we go and we have everything kind of dialled in down to the note. It\u2019s still crazy and spur of the moment, but it\u2019s a lot more impressive now. I want to do something live sonically and visually impressive. <\/i><\/p>\n

\u201cI don\u2019t want the listener to have to make compromises in their head like, ‘the guitar didn\u2019t sound great but I don\u2019t think they had a good mix on stage\u2026’ I really want it to actually sound impressive every night, and not just be passable. I want to hold myself to a higher standard. My production is getting trickier and trickier these days; the way each song was made might not exactly be ‘easy.’\u201d<\/i><\/p>\n

Undoubtedly, the shackles are off for Being As An Ocean<\/b> and their future is certainly one full of intrigue. <\/p>\n

‘Waiting For Morning To Come’<\/i> by Being As An Ocean<\/b> is out now (here<\/a>).<\/p>\n

Being As An Ocean<\/b> links: Facebook<\/a>|Twitter<\/a>|YouTube<\/a><\/p>\n

Being As An Ocean<\/b> will be touring the UK with Stick To Your Guns<\/b> on the following dates:<\/p>\n

November
\n27 Rescue Rooms, Nottingham
\n28 The Garage, Glasgow
\n29 Academy, Manchester
\n30 O2 Academy Islington, London
\nDecember
\n01 O2 Institute, Birmingham<\/p>\n

Words by S\u00eaan Reid (@SeanReid86<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"

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