Sayvinyl has done everything that a young band is supposed to do. TV, radio, national touring, landing a coveted spot in the new Tony Hawk game, supporting national acts at home, and releasing a deftly written, genre defying full length album, and all of this in the last year. Whereas a few years ago these achievements would have had them climbing the industry buzz ladder, it seems today as if they’re trying to walk up the down side of the escalator. I recently had a chance to talk to Dan and Jesse of Sayvinyl about their music, their band, and the plight of the independent musician in the twilight years of the record label.

You guys started playing, more or less, around the time that the music industry was starting to eat itself alive. How has that affected your ability to get your music exposed to the masses?

I’m not sure that we’ve arrived at the answer to that question yet. The music industry is still in this awful state of flux, and avenues like myspace, iTunes, etc. still feel like incomplete answers to the larger question. It has definitely made it damn near impossible for us or anyone without some ridiculously kitchy gimmick to get any record label attention, because they’re terrified of spending money on anything. Factor that out, and it equals no booking agent, no publishing, no manager, and on and on. I guess what I’m trying to say is that we’re fucked. I guess we have arrived at the answer, after all.

Do you have an opinion, one way or the other, about the argument of major label vs. imprint vs. indie label?

I’ve always been of the opinion that a good deal is a good deal. I’ve had the plus and minus discussion innumerable times, and I still think that if we were approached by a team of people who believed in our music as much as we do, and backed it up with a record deal that supported us as artists, I would be in heaven whether it was Anti or Interscope. I’m sure a lot of people would disagree, but as a struggling musician, I’m ethically bankrupt enough to accept most means of getting music to listeners and putting gas in my car.

Is there a major inspiration behind the song-writing on this new album?

Lyrically, this record is kind of a laundry list of frustrations. A decent chunk of the lyrics are devoted to how maddening it is to see people carry their ideals to these ridiculous extremes, especially in religious arenas. It’s seems as if we enjoy documenting our own failings so much that we encourage them, and the institutions that are supposedly these gold standards for morality are full of the worst kind of deviant, manipulative people, not to mention the complete lack of reason and accountability within their own organizations. On top of that, the lion’s share of them encourage their members to abandon their own understanding and lean on a supernatural, invisible source, instead of seeking truth for themselves. I’m not saying, “Let’s kill God.” I just think anyone who teaches willful ignorance is a step backward for human development. So yeah. That. And getting old. Lots of stuff about how old and sad I am.

I’m aware Jesse that you keep your skating and your music separate from one another. But lets face it, you’re getting an interview in a skate mag with your band because of your history in skateboarding. So entertain me with the answer to this question:
Certain brands are associated with certain images. Black Label is hessian, Enjoi’s a bunch of nerds and DGK is a Skurban marketer’s dream. If you had to say, what skate brand would best represent Sayvinyl and its members?

I would have to say Toy Machine; it has always been one of my favorites image-wise. Artistically it seems like Ed Templeton does whatever he wants which is how music and skateboarding should be.

What’s worse, the stench of a team van on a skate trip or the stench of the van with the band on the road?

It would have to be the band.... there’s always that one guy who thinks it’s so “indie” to never shower.

What touring do you like better?

I think on a bigger level music could be more fun as far as touring, but as it is now it can be really disheartening. When you show up and play for absolutely no one in Middle America it’s not like making a trip that you are just psyched to do. Never have I been like “so what if we drove ten hours for no one, this fucking PA system is awesome!”

How does a band reach people nowadays when anyone and everyone has their own social networking space and the opportunity for new ears seems saturated?

You just have to be really, really amazing. Or do a synchronized dance routine on youtube. Or get in a fight with someone more famous than you are. Or kill yourself. We’re still deciding which option to pursue.
What’s next for Sayvinyl?
1:40 PM
I know this sounds self-important, and maybe it’s the product of an overly caffeinated hangover, but I think we can do anything we want. I’ve never played with better people, I’ve never been a part of more honest music, and I’ve never been as certain of a band’s potential as I am about Sayvinyl. If we can divorce ourselves from the prospect of failure and work as much as we need to, I don’t see any limitations on where we can go.