Paul: There seems to be a revolving door policy when it comes to the band with as many former band members as people in the current line-up. Is the current line-up the most settled the band has ever been or will we see changes once this album cycle is completed?
Jeff: we feel pretty good right now. its not like we have a schedule that we determine and adhere to where once per album cycle we clean house and hoof (or alienate to the point that they quit) out a few members. if no one gets weird and quits, and if no one fucks up badly enough to warrant an out-kicking, then this current line up should be around for at least 4 and a half to 5 more months. tops. then we get back to the schedule. and kick out three members, and invite back into the band three old members.

Paul: Why did Kara leave the band? Was there any animosity towards her for leaving? Did it force you to change the way the band was going to sound with this album, or was the decision made to switch sounds before that?
Jeff: She left because she was a nice girl and we are mean boys. no. she got engaged. and had never toured extensively before, and i think it was starting to break her. and we’re mean boys. we knew before we started writing this record that it was going to be a guitar riffy upbeat rock album, with minimal additional instrumentation. oh, and there was no animosity towards her for leaving. none. we shed tears, and beat our breasts in the rain, and tore out our hair and cursed the gods. but we got over it.

Paul: Which brings me nicely onto the change in sound on the new album – it’s very melodic and far more accessible than previous records. What influenced you this time round?
Jeff: Money. we have none and want some. so very badly. we’ve been trying our whole career to sell out and start making money so we can buy houses and cars and drugs and get super models and celebrities to date us. or at the very least get to the level of like a D or C list celebrity that could make it into the tabloids for having had a one night stand with a drunken mess of a terrible person like paris hilton or lindsay lohan. and cocaine. oh god do we ever need more money for cocaine. do you know how expensive that stuff is? wow, its not cheap. and driving around our tour van while we’re home, and living with my mom is not cool. well, its pretty cool, its free and totally awesome. but if i had a beautiful mansion with a fountain out front, a big circular driveway a couple pools hottubs kitchens etc. it would be so much way cooler. so thats what influenced the new album. p.s. i still live at home, and have not gotten a phone call from any floozy celebrities yet. so we’re doing something wrong.

Paul: There’s very little screaming or shouting on the album, whereas your previous records have more than dabbled in the art. Again, any reason why you’ve gone for a more melodic vocal style?
Jeff: Do you know how bad screaming hurts? it sucks. when i was a teenager, and angry as all hell at everything and everyone, i didnt give a damn that my throat bled when i played shows. i give a damn now, it hurts, and i feel like an idiot when i do it. i’m not angry, i’m just bitter and worn out. so now instead, we’re just going to groan, and talk quietly. no more singing or anything.

Paul: Which is your favourite song from the new record and why?
Jeff: i like the last song, ‘it wont be long’ alot. i like the story told there, and i love the music.

Paul: Could you ever have followed up ‘Trainwreck’ with a similar concept record? Was there any point during the touring of that album where you thought ‘I can’t do this type of record again?’ Do you think the record got the plaudits it should have received?
Jeff: Sure we ‘could have’, i think that would have been silly though. we got that out of our system, and decided to get back to ourselves with the recent album. we may do another one in the future. concept album i mean. and i have no idea what plaudits means, i’ve never heard that word before.

Paul: On a similar note, what influenced you to write ‘Trainwreck’ and the story behind it?
Jeff: I wrote it as a short story initially. why? i have no idea, i just thought of the idea of a husband murdering his wife as they slept, and then waking up to deal with the aftermath, and what kind of person he would become as he attempted to cope with the murder.

Paul: Some reviewers have claimed BNO are sexist and like to write songs by murder – the new record obviously counters that claim, but was this a deliberate ploy or do you ignore the critics?
Jeff: Well i’ll start backwards. yes, we ignore the critics. always and forever. the lyrics that we write are always changing, along with the music. our early material was violent and pissed, and deemed misogynist by some. but it was just us releasing our demons, having fun yelling about bloody stuff and musically airing our obsessions with serial killers. trainwreck was more deliberate, yet still dark and fairly violent. the new stuff is very personal, and our first real opportunity to sing about us, or for connor to realistically sing about him, as he is now, not as the pissed off straight edge younger dude he once was.

Paul: Why did you release Fifty Million People Can’t Be Wrong’ in a digital-only format?
Jeff: So that people would know we werent dead, and we were still sort of making music occasionaly. our album couldnt come out for a while, so we wanted to tide people over till it did. digitally was the fastest way to release the ep.

Paul: Whilst on the subject of iTunes and MP3s, when you sit down with the label do you look at how many CD sales you need for a record to be deemed a success? Has that changed now that legal download sales can often outstrip physical Cds? Does it concern you that music may not be availbale in a physical format in years to come?
Jeff: We dont sit down with the label and look at anything other than beer bottles and food and each others beautiful faces. it bums me out that people dont buy vinyl or cd’s as much or at all anymore. just because its what i know, and i’ll miss it. just the way same that old people cant figure out the internet, or dvd players, because its not what they know. i know cd’s and records. i dont know mp3’s, they confuse and frighten me.

Paul: ‘Dude, you need to stop dancing’ was…well, a bit weird. Is it representative of the band or your own version of Spinal Tap?
Jeff: Both. it is an exact representation of who we are, our senses of humour, how out of touch we are, and is a christopher guest rip off.

Paul: When can we next expect you to grace the UK shores? How do you find UK audiences compared to US/Canadian ones?
Jeff: I think we’ll be there early in the new year. no dates yet. the UK shows are drunker. on our part and yours. which i’m not complaining about. but fuck, you people drink alot.

Paul: How is the Canadian music scene at the minute? Are there any bands from either Ontario or Canada as a whole that you’d recommend our readers check out?
Jeff: I dont really know how the canadian music scene is. i still hear alot of nickelback on the radio. so i guess it sucks. wintersleep is a really good band. they warrant a checking out.

Paul: There seems to be a revolving door policy when it comes to the band with as many former band members as people in the current line-up. Is the current line-up the most settled the band has ever been or will we see changes once this album cycle is completed?
Jeff: we feel pretty good right now. its not like we have a schedule that we determine and adhere to where once per album cycle we clean house and hoof (or alienate to the point that they quit) out a few members. if no one gets weird and quits, and if no one fucks up badly enough to warrant an out-kicking, then this current line up should be around for at least 4 and a half to 5 more months. tops. then we get back to the schedule. and kick out three members, and invite back into the band three old members.

Paul: Why did Kara leave the band? Was there any animosity towards her for leaving? Did it force you to change the way the band was going to sound with this album, or was the decision made to switch sounds before that?
Jeff: She left because she was a nice girl and we are mean boys. no. she got engaged. and had never toured extensively before, and i think it was starting to break her. and we’re mean boys. we knew before we started writing this record that it was going to be a guitar riffy upbeat rock album, with minimal additional instrumentation. oh, and there was no animosity towards her for leaving. none. we shed tears, and beat our breasts in the rain, and tore out our hair and cursed the gods. but we got over it.

Paul: Which brings me nicely onto the change in sound on the new album – it’s very melodic and far more accessible than previous records. What influenced you this time round?
Jeff: Money. we have none and want some. so very badly. we’ve been trying our whole career to sell out and start making money so we can buy houses and cars and drugs and get super models and celebrities to date us. or at the very least get to the level of like a D or C list celebrity that could make it into the tabloids for having had a one night stand with a drunken mess of a terrible person like paris hilton or lindsay lohan. and cocaine. oh god do we ever need more money for cocaine. do you know how expensive that stuff is? wow, its not cheap. and driving around our tour van while we’re home, and living with my mom is not cool. well, its pretty cool, its free and totally awesome. but if i had a beautiful mansion with a fountain out front, a big circular driveway a couple pools hottubs kitchens etc. it would be so much way cooler. so thats what influenced the new album. p.s. i still live at home, and have not gotten a phone call from any floozy celebrities yet. so we’re doing something wrong.

Paul: There’s very little screaming or shouting on the album, whereas your previous records have more than dabbled in the art. Again, any reason why you’ve gone for a more melodic vocal style?
Jeff: Do you know how bad screaming hurts? it sucks. when i was a teenager, and angry as all hell at everything and everyone, i didnt give a damn that my throat bled when i played shows. i give a damn now, it hurts, and i feel like an idiot when i do it. i’m not angry, i’m just bitter and worn out. so now instead, we’re just going to groan, and talk quietly. no more singing or anything.

Paul: Which is your favourite song from the new record and why?
Jeff: i like the last song, ‘it wont be long’ alot. i like the story told there, and i love the music.

Paul: Could you ever have followed up ‘Trainwreck’ with a similar concept record? Was there any point during the touring of that album where you thought ‘I can’t do this type of record again?’ Do you think the record got the plaudits it should have received?
Jeff: Sure we ‘could have’, i think that would have been silly though. we got that out of our system, and decided to get back to ourselves with the recent album. we may do another one in the future. concept album i mean. and i have no idea what plaudits means, i’ve never heard that word before.

Paul: On a similar note, what influenced you to write ‘Trainwreck’ and the story behind it?
Jeff: I wrote it as a short story initially. why? i have no idea, i just thought of the idea of a husband murdering his wife as they slept, and then waking up to deal with the aftermath, and what kind of person he would become as he attempted to cope with the murder.

Paul: Some reviewers have claimed BNO are sexist and like to write songs by murder – the new record obviously counters that claim, but was this a deliberate ploy or do you ignore the critics?
Jeff: Well i’ll start backwards. yes, we ignore the critics. always and forever. the lyrics that we write are always changing, along with the music. our early material was violent and pissed, and deemed misogynist by some. but it was just us releasing our demons, having fun yelling about bloody stuff and musically airing our obsessions with serial killers. trainwreck was more deliberate, yet still dark and fairly violent. the new stuff is very personal, and our first real opportunity to sing about us, or for connor to realistically sing about him, as he is now, not as the pissed off straight edge younger dude he once was.

Paul: Why did you release Fifty Million People Can’t Be Wrong’ in a digital-only format?
Jeff: So that people would know we werent dead, and we were still sort of making music occasionaly. our album couldnt come out for a while, so we wanted to tide people over till it did. digitally was the fastest way to release the ep.

Paul: Whilst on the subject of iTunes and MP3s, when you sit down with the label do you look at how many CD sales you need for a record to be deemed a success? Has that changed now that legal download sales can often outstrip physical Cds? Does it concern you that music may not be availbale in a physical format in years to come?
Jeff: We dont sit down with the label and look at anything other than beer bottles and food and each others beautiful faces. it bums me out that people dont buy vinyl or cd’s as much or at all anymore. just because its what i know, and i’ll miss it. just the way same that old people cant figure out the internet, or dvd players, because its not what they know. i know cd’s and records. i dont know mp3’s, they confuse and frighten me.

Paul: ‘Dude, you need to stop dancing’ was…well, a bit weird. Is it representative of the band or your own version of Spinal Tap?
Jeff: Both. it is an exact representation of who we are, our senses of humour, how out of touch we are, and is a christopher guest rip off.

Paul: When can we next expect you to grace the UK shores? How do you find UK audiences compared to US/Canadian ones?
Jeff: I think we’ll be there early in the new year. no dates yet. the UK shows are drunker. on our part and yours. which i’m not complaining about. but fuck, you people drink alot.

Paul: How is the Canadian music scene at the minute? Are there any bands from either Ontario or Canada as a whole that you’d recommend our readers check out?
Jeff: I dont really know how the canadian music scene is. i still hear alot of nickelback on the radio. so i guess it sucks. wintersleep is a really good band. they warrant a checking out.

PAUL: “I believe some of you, if not all, were in bands before BNO…how did you become a band and what influences did your older bands have on the new incarnation?”
JEFF: “We’ve all been playing in different bands together for years. Anything from skatepunk to ska, to metal to indie rock. as far as influences go.. I was in a metal band called river city ransom and i ripped off tons of that stuff for older BNO material. i don’t know if the ska really influenced at all. if anything, the only influence the older bands had was just getting us to play better together and be better musicians.”

PAUL: “I guess some people are bound to lump you in with the ‘screamo’ genre explosion. Do you feel uncomfortable being tagged in with that scene when all you have in common with bands of that ilk are aggressive lyrics?”
JEFF: “I don’t think anyone in any band around right now likes their music being called screamo, it totally demeans what the music actually is. I guess it fits though. We have screaming and we put emotion into our music, so looks like we’re a screamo band. What a bummer.”

PAUL: “I think the best genre description I heard of you was ‘violentcore’. Have there been any others that you have heard that have made you laugh? For all the lazy journalists out there, how would you describe yourselves?”
JEFF: “Killcore, dickheadcore, pussycore, lifetimecore, cowbellcore. i’d just say we’re a punk rock band with many different influences in our writing and the end product is just more diverse songs. We have some lighter stuff, some acoustic stuff, some heavier stuff with breakdowns and aside from that i just spend all my time trying to rip off Grade songs.”

PAUL: “When many people think about Canadian music they think of Bryan Adams and Celine Dion, yet the likes of yourselves, Jude The Obscure and Alexisonfire seem to be doing your bit. Why do you think there has been an explosion in bands being recognised and coming from Canada?”
JEFF: “Because there’s lots of talent in the area we’re from and with the internet, and just a general international interest in this area of Canada, it’s become super easy for word to travel about the good bands we have up here.”

PAUL: “How did the deal with Ferret come about? That label is quickly developing into one of the most diverse around isn’t it?”
JEFF: “Ferret has a ton of really talented bands that are getting lots of well deserved recognition. It came about through MP3.com. Carl at ferret heard about us through the grapevine, checked us out on MP3.com, and signed us.”

PAUL: “Speaking of Ferret, have you had chance to check out labelmates, and UK band, Funeral for a Friend? What do you think?”
JEFF: “It’s not really my thing.”

PAUL: “You’ve toured with a diverse range of bands, from hardcore bands like Atreyu to bands like Straylight Run and even Catch 22. Is it difficult to play to a different audience and how have you gone down with fans of those bands?”
JEFF: “Metal shows suck, the kids hate us. The catch tour ruled, the fans were awesome, and lots of our own fans came out to all the shows, so it was a good mix. Aside from metal shows, any show we play, at least a few of the kids there will be into us.”

PAUL: “On a similar note, who has been your favourite band to tour with, and why?”
JEFF: “Probably catch 22. just cause it was the longest tour we did and we had an awesome time with those dudes every night. Other favourite bands are from autumn to ashes, fulblast and fordirelifesake.”

PAUL: “Whilst talking about touring, I know there are a lot of UK fans who would love to see you on these shores. Are there any plans in the pipeline to make it over to the UK?”
JEFF: “Ya, we just confirmed like a weeks worth of shows there at the end of February.”

PAUL: “The EP was obviously a lot more aggressive musically than ‘Make Yourself Sick’. Did you decide to tone it down slightly for the album or was the end result a more natural process?”
JEFF: “I wouldn’t say ‘Make Yourself Sick’ is less aggressive, the songs are just better put together. There’s no lame metal riffs, mismatched with lame emo parts. We just spent more time developing the songs. It was definately a natural process.”

PAUL: “Obviously the murder/death obsession is one that you’ve nailed as your own…how did that come about and are you all closet psychopaths or is just an unhealthy obsession?!”
JEFF: “I’d say it’s a completely healthy obsession. What better medium to get out the worst of us then in our lyrics. It’s just art immitating itself. We don’t want to kill anyone, it’s just catharsis for us and we’re excercising our artistic muscle in the best way we know how – drugs, death, and rock ‘n’roll.”

PAUL: “Lyrically BNO are quite possibly one of the best bands around, in my opinion, at the minute. There’s a lot of alliteration and sibilance used for dramatic effect so the lines are more poetic than most. Is there a conscious decision to pay particular detail to the lyrics by using such literary styles?”
JEFF: “Definately. Connor spends lots of time on lyrics and i help out where I can.”

PAUL: “On a similar note, how does the creative process work? Does the music come before the lyrics or vice-versa?”
JEFF: “Music usually comes first. I’ll write the song, bring it to practise, then as a band we’ll put it all together and eveyrone will contribute their own part.”

PAUL: “On the album one of my favourite songs is ‘Yeah, No…I Know’ – even though it’s so different to the other songs. Is this kind of style something we may see more of in the future?”
JEFF: “Possibly, yeah. it’s my favourite song on the record but i don’t know, i don’t think we have any idea what our new record is going to sound like yet.”

PAUL: “What other plans do you have for 2004? Are we likely to see another release?”
JEFF: “We’re definately going to have another full length recorded before the year is up. Aside from that, we’ll be touring our asses off all year.”

PAUL: “I believe some of you, if not all, were in bands before BNO…how did you become a band and what influences did your older bands have on the new incarnation?”
JEFF: “We’ve all been playing in different bands together for years. Anything from skatepunk to ska, to metal to indie rock. as far as influences go.. I was in a metal band called river city ransom and i ripped off tons of that stuff for older BNO material. i don’t know if the ska really influenced at all. if anything, the only influence the older bands had was just getting us to play better together and be better musicians.”

PAUL: “I guess some people are bound to lump you in with the ‘screamo’ genre explosion. Do you feel uncomfortable being tagged in with that scene when all you have in common with bands of that ilk are aggressive lyrics?”
JEFF: “I don’t think anyone in any band around right now likes their music being called screamo, it totally demeans what the music actually is. I guess it fits though. We have screaming and we put emotion into our music, so looks like we’re a screamo band. What a bummer.”

PAUL: “I think the best genre description I heard of you was ‘violentcore’. Have there been any others that you have heard that have made you laugh? For all the lazy journalists out there, how would you describe yourselves?”
JEFF: “Killcore, dickheadcore, pussycore, lifetimecore, cowbellcore. i’d just say we’re a punk rock band with many different influences in our writing and the end product is just more diverse songs. We have some lighter stuff, some acoustic stuff, some heavier stuff with breakdowns and aside from that i just spend all my time trying to rip off Grade songs.”

PAUL: “When many people think about Canadian music they think of Bryan Adams and Celine Dion, yet the likes of yourselves, Jude The Obscure and Alexisonfire seem to be doing your bit. Why do you think there has been an explosion in bands being recognised and coming from Canada?”
JEFF: “Because there’s lots of talent in the area we’re from and with the internet, and just a general international interest in this area of Canada, it’s become super easy for word to travel about the good bands we have up here.”

PAUL: “How did the deal with Ferret come about? That label is quickly developing into one of the most diverse around isn’t it?”
JEFF: “Ferret has a ton of really talented bands that are getting lots of well deserved recognition. It came about through MP3.com. Carl at ferret heard about us through the grapevine, checked us out on MP3.com, and signed us.”

PAUL: “Speaking of Ferret, have you had chance to check out labelmates, and UK band, Funeral for a Friend? What do you think?”
JEFF: “It’s not really my thing.”

PAUL: “You’ve toured with a diverse range of bands, from hardcore bands like Atreyu to bands like Straylight Run and even Catch 22. Is it difficult to play to a different audience and how have you gone down with fans of those bands?”
JEFF: “Metal shows suck, the kids hate us. The catch tour ruled, the fans were awesome, and lots of our own fans came out to all the shows, so it was a good mix. Aside from metal shows, any show we play, at least a few of the kids there will be into us.”

PAUL: “On a similar note, who has been your favourite band to tour with, and why?”
JEFF: “Probably catch 22. just cause it was the longest tour we did and we had an awesome time with those dudes every night. Other favourite bands are from autumn to ashes, fulblast and fordirelifesake.”

PAUL: “Whilst talking about touring, I know there are a lot of UK fans who would love to see you on these shores. Are there any plans in the pipeline to make it over to the UK?”
JEFF: “Ya, we just confirmed like a weeks worth of shows there at the end of February.”

PAUL: “The EP was obviously a lot more aggressive musically than ‘Make Yourself Sick’. Did you decide to tone it down slightly for the album or was the end result a more natural process?”
JEFF: “I wouldn’t say ‘Make Yourself Sick’ is less aggressive, the songs are just better put together. There’s no lame metal riffs, mismatched with lame emo parts. We just spent more time developing the songs. It was definately a natural process.”

PAUL: “Obviously the murder/death obsession is one that you’ve nailed as your own…how did that come about and are you all closet psychopaths or is just an unhealthy obsession?!”
JEFF: “I’d say it’s a completely healthy obsession. What better medium to get out the worst of us then in our lyrics. It’s just art immitating itself. We don’t want to kill anyone, it’s just catharsis for us and we’re excercising our artistic muscle in the best way we know how – drugs, death, and rock ‘n’roll.”

PAUL: “Lyrically BNO are quite possibly one of the best bands around, in my opinion, at the minute. There’s a lot of alliteration and sibilance used for dramatic effect so the lines are more poetic than most. Is there a conscious decision to pay particular detail to the lyrics by using such literary styles?”
JEFF: “Definately. Connor spends lots of time on lyrics and i help out where I can.”

PAUL: “On a similar note, how does the creative process work? Does the music come before the lyrics or vice-versa?”
JEFF: “Music usually comes first. I’ll write the song, bring it to practise, then as a band we’ll put it all together and eveyrone will contribute their own part.”

PAUL: “On the album one of my favourite songs is ‘Yeah, No…I Know’ – even though it’s so different to the other songs. Is this kind of style something we may see more of in the future?”
JEFF: “Possibly, yeah. it’s my favourite song on the record but i don’t know, i don’t think we have any idea what our new record is going to sound like yet.”

PAUL: “What other plans do you have for 2004? Are we likely to see another release?”
JEFF: “We’re definately going to have another full length recorded before the year is up. Aside from that, we’ll be touring our asses off all year.”