Story Of The Year - Interview - 2008

“Here’s the thing about our band,” says gymnast guitarist Ryan Phillips slightly impatiently. “We’re a band who watch presidential debates, read books about the cosmos and care about the environment. At the same time there’s nothing better than laughing when someone gets their dick out or throws up outside the tour bus. You figure it out…” 

Let’s.

Story Of The Year aren’t rockstars. That’s just their job. They’ve had two top 20 albums in the US, and top a top 10 rock album in the UK rock; they’ve played thousands of gigs to hundreds of thousands of people from their native Missouri through Europe to the Far East and Australia. They back-flipped on that YouTube clip you watched and sang “Bitter, bleak, you're fucking weak/'Cause now I see right through, so FUCK YOU!”

But there’s no Matt Tuck, David Draiman or M Shadows character in Story Of The Year: No one’s slagging off other bands, exploiting girls or doing drugs. There’s no Self-Destructive Guy™, no Angry Dude™ and no ‘I’m Maaad!’ Bloke™. Maybe for that reason SOTY aren’t an image band – not goth, not emo, not even really metal. As a hardworking and great sounding straight up post-hardcore rock band they have more in common with In Flames than My Chemical Romance.

They’re just like you and your mates. Sometimes pissed off, sometimes having a laugh; sometimes working, sometimes letting off steam. They just happen to be in a hard rock success story that shifts tens of thousands of CDs, tickets and t-shirts. They are the rock’n’roll dream without the sex(ually transmitted diseases), drugs and beef clichés.

To an outsider it may have looked like Story Of The Year (completed by guitarist Philip Sneed, bassist Adam Russell and drummer Josh Wills) were a cynical record label cash-in on what was soon to become mis-cited as ‘emo’. Yes they had seemingly appeared from absolute obscurity to sign to Maverick Records (home to Madonna) and see three consecutive debut album singles earn wide-spread US radio play.

“From the outside I can see how it looks like we had an overnight success,” admits Ryan fidgeting like a child in the back seat of a Renault Espace. “But to me it’s been the longest hardest road. I’ve spent my whole life working to be in this chair talking to you right now. It’s the opposite of overnight.”

“Even though we had a couple of singles on radio we still wanted to build up the live following,” adds the more low-temperature singer, Dan Marsala “And that paid off, because when our second record didn’t go to radio we still had that strong fanbase. That’s how bands make money now – staying on the road.”

And it’s lucky they did. The insta-fans who loved the anthemic radio hits, //Until The Day I Die// and //Anthem for Our Dying Day// evaporated as quickly as they’d rained in when second album, //In The Wake Of Determination// hit shelves. The heavier long-player garnered no radio, and the fickle mainstream went out and bought MCR’s //Three Cheers For Sweet Revenge//. 

But was it that it wasn’t as ‘pop’, or was it that it just wasn’t as good?

“That’s a fair question,” says Ryan tilting his head as he chews it over. “Yes, the production is more raw; but when you get through all of that - when it comes down to it - the songs just aren’t as commercially viable as the ones on the first record.”

“It freaked a lot of people out,” adds Dan nodding reflectively.

Luckily, no small number of hardcore fans still bought the album and continued to turn out to shows in their thousands. This was due in no small part to the band’s well deserved reputation as being one of the most exciting live bands on the circuit: all members bouncing like lunatics off their meds – Ryan and Phillip often back-flipping off an amp or riser. From support slots and headline tours to the trans-Atlantic Warped Tour, the band enjoyed high praise and rave reviews.

After what only a major label could call ‘a poor reception’ to the album, the band subsequently left Maverick and signed to the far more appropriate Epitaph. 

“I don’t want to put Warner down,” offers Dan diplomatically. “Long story short – we’re in a lot better situation now.”

“The latest album isn’t so much a concept album, as an album with a theme,” explains Dan slowly as we inquire about claims that ‘The Black Swan’ was in fact a concept album. “It didn’t start out that way, the lyrical content just kind of came together like that. The topics span from social problems and abuse to government and politics.”

So it is a ‘we’re all fucked’ theme, or a ‘we’re all fucked, but it’s ok’ theme?

“It’s more of a ‘we need to wake up and see the things we’re all doing before we’re all fucked’.”

It’s clear from his the trepidation in his voice that Dan doesn’t want to lay his songs bare so easily or so explicitly – and he admits as much. Ryan is more forthcoming, if a little oblique.

“You see a presidential address, Mr Bush saying America’s the greatest country in the world. I love my country, I do, but then you go on tour, see other countries and think, ‘dude there’s a lot of great countries’. Maybe America isn’t the best. Holy shit, these people have free health care. Holy shit, these people aren’t morbidly obese. Holy shit, these people smile all the time! We’ve realised quite how much of an arrogant and nationalist viewpoint the US has.”

Story Of The Year have grown up. And in that, they’re like you too. When we’re young we’re selfishly concerned with the things in our immediate environment: looking cool, money, drinking, snogging, our jobs. While some of these will always play a part in our day to day concerns, the superfluous and superficial needs dissipate and we see the bigger picture: racism, famine, animal cruelty and the destruction of our planet.

“Yeah,” sighs Dan raising his eyebrows. “Touring the world a couple of times’ll do that to you.”

So with a renewed sense of vigour and direction the band set about penning 2008’s ‘The Black Swan’, and reconnecting with eyes, ears, fists and feet on another eagerly anticipated world tour.

SOTY aren’t an image band. At least not an image they’ve contrived: not one built out of hair-straighteners, eyeliner or celebrity connections; just good live shows. No, scratch that. Not good live shows, amazing live shows. Dan punches the air and bounces up and down like a constant motion pogo stick, and Ryan and Phillip run from side to side flipping scissor kicks, tuck jumps and throwing their guitars to each other. They even admit that people who aren’t even that into the music turn up, just because they put so much into their shows.

“We never set ourselves up as a band with an image like that.” States Dan baldly. “It’s not that [being good live] was our gimmick, it was the only thing we focussed on right from the beginning – wanting to be a good live band. That was the only thing I cared about when I went to shows.

“I’ve always gravitated towards the bands that were so good live that I wanted to pull my hair out and punch somebody y’know,” says Ryan squirming excitedly. “I get the most satisfaction from knowing that most people leave our shows getting their money’s worth. I just love giving people the feeling I had growing up seeing the Deftones or Snapcase.”

Image and schtick have worked for many bands; some great bands and some of the world’s worst: from Kiss and The Misfits to Mushroomhead and Insane Clown Posse.

“That shit really gets on my last fucking nerve,” blurts Ryan becoming more and more animated. “There are so many bands where the most important thing is their hair or make-up who they’re fucking. The last thing you think about with those bands is the music. That shit just seems stupid to me. The music is the most important thing isn’t it?”

“One thing we’ve always done is be honest, to ourselves and so to the crowds: we don’t dress all crazy, wear goofy-ass make-up and try to be something we’re not.”

“Our music is the most serious thing to us,” adds Dan, appearing more at ease. “We don’t have any dick and fart joke songs. But as people we’re not like pissed off little grim dudes. It’s a contrast.”

Which is why – like you – SOTY can’t be pigeon-holed: not as a band, not as individuals.

A human with the ability to feel anger and be funny? Never! 

“Exactly!” yells Ryan excitedly. “Why can’t we be both? The big personalities in bands have an image that they have to keep up 24/7 - for their whole career. We never had an image, we’ve just been ourselves. That confuses people because we write songs about global warming and war, but then on our DVD we’re partying and throwing up. But fuck it, that’s the best way to live.”

Are you dead yet? With Ryan Phillips

• I’m missing two teeth

• I’ve had massive lumps on my head from where I’ve tried to thrown guitar round

• Stitches in my shin

• Shin splints 

• Back problems

• I had to hospital when I did a back flip and hit my throat on mic stand

• I fractured my right heel

• I almost cut my uvula off 

• Once I landed on my heels badly and it sent a painful twinge through my back which affected me for ages.

• Once he [Dan] was doing his punching the air move, and he caught the end of my guitar and he just punched the fucking headstock OFF! Off of an $8000 guitar – one of a kind.

• Phil’s had stitches in his eye twice. 

• Adam had to wear this ankle brace boo thing when he damaged his foot.

• I’ve been damaged from jumping into the crowd and being thrown back on stage