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Panic!'s producer

By JULIA KAGANSKIY  |  September 1, 2006

I wonder if that would change your perspective on working with so many people.
I’m sure it would. The funny thing is, I talk about how it’s a big team and how I need to make more people happy, but at the end of the day, everybody just wants the band to be happy, myself included. If the band is feeling it, and as long as it’s not totally off the center and totally inconsistent with the label’s vision, I find that things usually really click. I know with Panic, we were all just workin’ our asses off trying to help the band realize their vision. If you listen to the record, there’s two sides to the record, it travels, there’s a lot of different dimensions to it. They thought about that. The band is brilliant. We talked about that a lot during preproduction, trying to figure out – a) how are we going to do this? b) how are we going to pull it off for little or no money? and c) how are we going to pull it off on time? They were going on tour with Fall Out Boy and if we had missed our mastering date or pushed it back even a day we would have missed our released date and not had the record out for that tour. There was a lot of pressure on those 17, 18-year-old kids, but at the end of the day, they just wanted the record to be a certain way and we pulled it off…it was hairy, but we pulled it off.

Most of your releases have been within a certain genre. Do you see yourself branching out at all in the future?
It’s tough because I’m doing really well in this genre and I love this genre. It’s the music that I grew up playing. At the same time though, I don’t know how long that kind of lasts and there’s a lot of different kinds of music that I’m into, a lot of electronic stuff and singer/songwriter stuff. I’ve been talking to my manager about that a lot. It’s a good time, since I’m sort of making money off of royalties, it’s a good time for me to discover somebody and reach out and find new talent. So, it’s on my brain in terms of, how am I going to surpass this genre and not fade away with it? But it’s also tough because I’m getting great opportunities to do great records within the genre. I’ve only been doing this for four and a half years and it’s been an interesting road, and it’s all been kind of quick, so, I don’t know where that’ll take me. 

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Related: Career opportunities, Pop shock, New bottle, More more >
  Topics: Music Features , Entertainment, Music, Pop and Rock Music,  More more >
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Comments
Panic!'s producer
In discovering why Emo sucks, one must first seek a definition, in order that he or she might rip it to fucking shreds and subsequently laugh his or her ass off at said definition's inherent pretentiousness. The website for generic knowledge seeking assholes, altmusic.about.com, defines Emo, (short/slang for "emotional") as "Hardcore Punk music with sensitive and emotional lyrics". Ah, now I get it! Emo is the new milennium's answer to the 80s power ballad and "sensitive metal". (refer to my "Every Rose Has it's Thorn" Theory) Now, for the actual definition... Emo (ee-mow) n. slang (emotional), 1. genre name concocted by the record industry as yet another way to segregate musical styles 2. a term used by the record industry as a markting tool to target jaded teens and twenty-somethings that used to listen to grunge-rock when it was "in" 3. a style of music that brings kids in tight summer camp t-shirts and black framed glasses to tears 4. Emo (Phillips): co-star of such great cinematic benchmarks as UHF (Wierd Al Yankovic)
By w00t on 09/08/2006 at 4:18:41

[ 11/30 ]   Sam & Ruby  @ Wolf Den @ Mohegan Sun
[ 11/30 ]   Infinite Ensemble  @ Sally O'Brien's
[ 11/30 ]   Karina Stone  @ Lily Pad
[ 11/30 ]   "Night of the Living Dead Head"  @ Zuzu
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