Who is answering the questions?
This is Mike Liorti. The only full time member of Rosedale.
Can you tell us about the formation of Rosedale?
I started playing piano when I was 7. Once I got a guitar at 12 I wanted all my friends to start a band with me. Eventually a handful of us were jamming after school and the local music store was our sanctuary. We’d go there for hours writing songs and messing around with new gear we dreamed of owning. We started playing our school’s dances/talent shows when I was 13 then on to scammy, pay-to-play Battle of The Bands showcases downtown when I was about 14.
How did you get to the band name Rosedale, and what does it mean to you?
Rosedale Avenue was the final stretch to the local music store. As soon as we crossed the tracks we were on Rosedale and talking about our goals. That street and area has a lot of cool memories.
To an unfamiliar reader, how would you describe your sound?
Rosedale’s sound can be described as an aggressive, polished, alternative punk rock. Maybe more pop than punk at times.
What bands have influenced you over the years, and why?
Blink 182 and all their side projects. I’ve just always loved Jerry Finn’s productions and Tom Delong’s writing. And Travis Barker will always be my favorite drummer. Also, I just relate really well to those albums. I grew up on that band. Radiohead was naturally engraved into my influences thanks to my brother along with Deathcab For Cutie and The Postal Service. The Ataris and The Starting Line have also been played many many times on my iTunes. Kris Roe is my punk rock hero. He’s in it 100% just for the music and will never stop. The list goes on and on.
What made you want to have a self-titled release, and what does it mean to you?
The album is pretty much all about Rosedale. All the hardships, the defining moments, the message. A lot of bands have called it an album for bands and I agree.
Can you elaborate on some of the other main themes and influences that run throughout your self-titled release?
There’s a lot of influences tied together. I’ve listened to so many bands in highschool and coming out of highschool (as everyone does) so I struggle to get into anything new. So its very throwback but in a unique way. Some of the themes are about never giving up and looking back on where you came from. Some are about today’s predictable society and my view from outside the box.
What can you tell us about the recording process for self-titled?
I recorded the new album at Drive Studios in Vaugn, Ontario with Steve Rizun. He’s been my mentor in the crazy world of recording and I’m super lucky to have him as a friend. I’ve got to work and watch him work on some amazing records over the years. (A lot of which have developed my writing as well.) So I know that studio inside-out and it was basically like recording at a sweet home studio with my best friend. It aloud for a lot of experimenting and “meticulous-ness”.
What song means the most to you from self-titled at the moment, and why?
That’s a very tough question. I wanna say I like them all equally but day-to-day I have my favorites (to play and to listen to). I’d say today it’s Sustain. The lyrics in that song keep me going and remind me to set an example for the next generation and all struggling artists/entrepreneurs.
What songs are you really enjoying playing live from self-titled at the moment, and why?
I’ve been loving Grey. I can always get in the zone for that song and flashback to all the long, hard “unresponsive days” trying to book/promote/hustle. Playing that song is seriously therapeutic, like smashing plates.
What was the hardest part about putting self-titled together for you guys, and why?
The hardest part was getting the computer to play all the tracks. We had to sum all the guitar mics, print the software instruments, countless restarts/crashes, re-build corrupt sessions. I ended up putting the ol’ “Cntl S” stickies all over the place to remind me to save. It was a nightmare sometimes. The Curse was definitely present many days in the studio but we never settled.
What can you tell us about your latest single?
Quicksand is about the internal vs. external struggles vs. Rewards of being your own boss. It’s rewarding to have everything your way, but it’s difficult when nobody is pushing it but yourself. You might spend your whole day promoting in a new city and setting up for the best show you can possibly put on, just to look up and see the few locals/parents leaving the venue faster than you can wind a cable. It’s very disheartening, but you gotta just believe in yourself and understand it’s not gunna be easy.
How did the artwork for self-titled come together, and what does it mean to you?
The artwork is a collection of photos of my old house. The last track on the album, A Kid Again, is about reminiscing from the road of my old house and childhood. So I actually went to my old house in Brampton, Ontario and took photos of all the objects mentioned in the song. My talented friend, Lee at Zedpromedia, put them together in an appealing way, as he does with all my crazy ideas. It was a fun process working on the artwork. We added the hockey puck marks to the garage door on the front cover to symbolize working on your dreams and making mistakes to gain required skills and finally get it right. That’s really what this album is to me.
Touring wise, can you give us a couple of personal highlights from your time on the road?
There were a few times while playing in the parking lots of Warped tour that were definitely hightlights. Having bands like All Time Low, Newfound Glory, Bayside, Attack Attack, We The Kings and even some of the tour security come out and watch my set was so cool. Kids would be coming up to them asking for autographs and photos and they’d be like “sure, but you gotta watch the rest of this dude’s set first”. Some of them even bought CDs and merch! Those memories and their compliments keep me going to this day. Going to Europe was also a big highlight for me. I never thought kids in Austria and Germany would know my songs but they were singing along and it was unreal. Little things like that make me feel like all the hardships over the years have paid off and make me hungry for more rewards.
How would you say the sound of Rosedale has grown/progressed over the years?
Rosedale’s sound has matured into more of a listenable, authentic and original sound. On this new album I played around a lot more with symphony orchestra/ big-band instruments as well and gospel choir vocal harmonies. Background layers like that take up a lot of studio time but are so pleasing to listen back to. I’ve finally brought my classical upbringing and appreciation for composers like John Williams and Hans Zimmer together with my early 2000s Loser Kids/skate-emo and surprisingly they go well together. Rosedale started as more of a punk-rock-emo band but definitely evolved into something unique and captivating.
What sets you apart from any other band out there right now?
The thing that sets Rosedale apart from any other bands is my mentality. I go all out and it’s all DIY. Usually when a band is self funded/represented they have a low quality video, mediocre recordings, a basic live show, and they tour it maybe two months a year. I’ve managed to make Rosedale my full time career without any label support/agent or grant money. Not that I’m against any corporate support or partnership, I’d love to sign with a label and agent that could help take Rosedale to the next level. But what Rosedale has become as an independent entity is pretty remarkable; I tour 8-12 months a year (all self booked), set up a fully programmed 14 fixture light show at every show, release about three professional videos a year, and the new album looks and sounds as pro as my all time favorites. I don’t think any one person has been able to accomplish this kind of project independently ever. Yet, after 12 years of trying, I don’t think anyone else would’ve kept going.
What is the music scene like in Toronto?
Prestigious. Like any big city, the trends rise, the real artists gotta wait their turn. If you sound like Monford & Sons or The Black Keys you’ll do alright at the Horseshoe Tavern on a weekend. If not, you better have Live Nation backing you. Meaning, you gotta make a demand elsewhere first. There’s really no all ages DIY community in Toronto. Some of the outskirts try but they don’t last long. I can’t complain cus I haven’t really done much to help, so shame on me. But like a lot of cities, its just not worth it; apparently most kids have better things to do than watch and support talented up-and-coming artists pouring their hearts out at an intimate show. But its an ironic catch22 cus it seems (more often than not) the worse the band is, the more people attend and interact. Not just Toronto but many places
What else can we expect to see from Rosedale in 2016?
Unless bigger touring opportunities arise, I’ll be finishing up the Rosedale Documentary and releasing trailers for it in the next couple months. Some new music coming along with it as well.
