New Found Glory recently released their new, and ninth studio album, ‘Makes Me Sick‘.

The band are also just a few weeks off returning to Australia for their big 20 Years Of Pop Punk anniversary tour on which they will be playing albums from the catalogue in full, as well as tracks from the new album, and other favourites in a jam packed set.

A number of shows have sold out, and those that aren’t, are moving along. You can scroll down for a re-cap of which shows still have tickets available and get yourself sorted.

Back onto the new album, it is available via Hopeless Records / Unified, and was produced by Aaron Sprinkle (MxPx, Anberlin, Acceptance) and mixed by Tom Lord Alge (U2, The Rolling Stones, Blink 182).

You can grab it on iTunes [Here], CD [Here] and Vinyl [Here].

To find out all about it, Cyrus from the band answered our On The Record questions this week. Take a read of his answers below.


Tell us about the release title.
‘Makes Me Sick’ was something that came about as we were recording the album. I remember being in the studio one day and we were throwing around ideas for the title and when that one came up of course the first thing I thought was “every headline is going to read New Found Glory Makes Me Sick.” But then I realized that even if that phrase sounds bad initially it’s a definite talking point, and it might actually get us more press in due time. So, what started as a bit of a joke in my mind ended up becoming the title to our album and a very memorable one as well!

Tell us about the artwork.
The album art for Makes Me Sick was designed/illustrated by Brian Butler (, who is an artist that actually lives in South Florida, where all of us in the band grew up, so there’s a cool connection there. We contacted Brian early on in the recording process to run some ideas by him, and were immediately drawn to his work because he’s well-known for doing things like murals and artwork with lots of stuff going on in them. We had this idea to have our artwork be a neat hybrid of real photos and artwork, reminiscent of albums from the 80s and old school rap stuff from the late 80s like De La Soul, where album artwork consisted of band members photos being cut out and “placed” over artwork, almost like old punk show flyers used to be. We wanted the artwork to be colorful, in contrast to our last album (Resurrection), and I think Brian nailed that perfectly. We gave him the idea about the island and floating bottles that could represent each song, and after a few different versions of the artwork we finally settled on the version that is on the album now.

What format/s will it be released on and how will it be packaged?
It was released here as a digipak CD, Vinyl in white and in black for retail and two versions for digital: standard and mastered for iTunes.

Who will it be released through, and when?
It was released via Hopeless Records/Unified on April 28, 2017.

Tell us about the studio and why you chose to record there?
We recorded the majority of the album at a small studio in Franklin, Tennessee called The Creak Studio. It’s located in a house in the middle of the downtown area of this cool, small city, and it was a super fun experience for us. We’ve recorded in studios all over the world, both big and small, but a majority of our albums up until this point had been recorded in studios in/near Los Angeles, and it was great for us to get away from the craziness and distractions of that area and just go somewhere where we could focus on nothing but our album. Chad lives very close to the studio so we actually all just stayed at his house while we were there, and it was close enough where some of us would walk to the studio every day, and anything else you needed was walking distance from that place. Luckily the neighbors were cool with us blasting guitar amps all day long, because I think normally the studio is used for more singer-songwriter oriented music, and not loud pop-punk/rock music!

Tell us about the producer / engineer and why you chose to record with them?
Aaron Sprinkle was the producer for Makes Me Sick and he was a great addition to the album, from the early stages of preproduction all the way through the final touches during the mixing process. Aaron is someone that we’re all very aware of although most of us hadn’t met him before we recorded; he’s produced some really awesome bands in our opinion (Acceptance, MxPx, Anberlin). One of the main reasons we wanted to work with him was that we knew he was a great player, and he’s really good with guitar and keyboard stuff, so we went into the recording process knowing that we could rely on him to assist us with coming up with layers of keyboards and guitar sounds that would take our music to that next level, something that we had purposely stayed away from on Resurrection. Aaron was awesome at helping us get cool guitar sounds that were a little different than what we had done in the past, using random pedals from his own collection, and he was amazing with keyboards where we could literally hum a melody and give him a YouTube video of an older song that we were referencing vibe-wise, and within a few minutes he had created a sound that took the vibe of the YouTube video and made it totally fit with what we were doing. He was also great with vocal production, especially when it came time for harmonies and extra vocal tracks. He’s so fast with coming up with harmony ideas, and has a cool method where he uses plugins to write/audition different harmony ideas and then we go back and record the best ones. It sounds super fake and robotic as you’re listening, but it’s an easy way to test out all different variations without worrying about Jordan losing his voice or having to teach him a melody line or anything like that. We’ve never done that before and I think it will definitely become a staple part of our recording process going forward!

Did you go into the writing process with a clear direction in mind?
I think as with all of our albums that we don’t necessarily have a complete direction in mind when starting the writing process, especially because it usually begins well in advance of the actual tracking of the record. For instance, we started recording some rough demos for this album almost 6 months before we entered the studio while we were on the Vans’ Warped Tour back in the summer of 2016. Chad had a few song ideas that we would hash out in the back of the bus with fake drums and guitars plugged straight into a laptop, but some of those ideas turned into songs that made the album, including the first single “Happy Being Miserable.” After writing a few songs together I think we all start to “feel” the direction of the album and the rest of it usually falls into place as we get more into writing and preproduction. Inevitably, there’s a song or two that’s written literally the night before we start recording, and sometimes those songs end up becoming huge hits or some of our favorite songs on the album. This time around, it was the song “The Sound of Two Voices” that was written literally a day or two before we started in the studio and came together very quickly and organically. Honestly, the only direction I think we had with this record was to not hold ourselves back when it came time to record our parts, and allow ourselves to add layers of sounds if we felt necessary, including keyboard tracks and extra guitars. On Resurrection, we purposefully scaled back the production to go for a more raw, straightforward sound, but we knew going into this recording that we wanted to have keyboard melodies on a lot of the tracks and if we wanted a “wall of guitar” we should do it.

Were you listening to anything in particular during the writing / recording process that influenced the songs at all?
There wasn’t a “go to” album or band for us, but I can tell you a cool story about a particular song. The song “The Sound of Two Voices” came together very fast like I said previously, but the idea for it came about on a car ride to lunch while we were together in preproduction. Chad had his iPod on shuffle and the sound “You Can Call Me Al” by Paul Simon came on the radio, and for some reason we were like, “we should write a song like this.” Well, upon our return from lunch, we started messing around with ideas, and I remember literally trying to play the exact same drumbeat (which is definitely not a beat I would normally play) and next thing you know, we had a song created. We showed it to Aaron later that day and he was like “that’s awesome and definitely has to go on the record.” I think at first some of us were a little hesitant because it didn’t sound like a typical NFG song, but the more we sat there and played it, and especially after we put vocals and lyrics on top of the music it really did become like any other NFG song, at least in my opinion. I think it actually is one of the catchiest choruses on the record!

Were there any albums you were referencing in the studio to aim for a certain type of sound production wise?
Overall, we usually just let our natural sound come through in the studio, without referencing a certain album for sounds. However, in certain instances we did reference records, and on this album I remember us saying that the keyboard sounds should be cool sounding and reminiscent of stuff from the 80s, so a lot of the actual keyboard patches that we used were re-creations of synths that were popular in that time period. Also, I remember while recording the drums for the song “Party On Apocalypse” we wanted the snare drum to be really high pitched and couldn’t explain correctly to Aaron and the engineer without using the band Snapcase as a reference, a hardcore band that we all used to listen all the time when we first started touring together.

How long did you spend in the studio recording?
From start to finish, we spent a little over a month in the studio recording. It was about 2 weeks of preproduction time writing and refining the songs before we entered the studio, then about 4 weeks of actually tracking the instruments and vocals.


Tell us a little about the recording process the band used?
Our recording process has been the same for years, and it’s probably similar to a lot of rock bands. After writing the songs, we start recording with the drums, where I’ll record drums while playing along to a click track and possibly Chad playing a guitar track as well. When that’s done we take the drum tracks and start overdubbing rhythm guitar tracks first, then bass guitar (we learned our lesson early on that it’s easier to ensure everything’s in tune if you do guitars first, then bass). After getting basic rhythm tracks out of the way, we’ll move on to recording the lead vocal for the song, to get Jordan singing early on in the recording process. One thing we’ve learned through experience is that you don’t want to leave a whole bunch of vocals to record until the last day, because once a singer’s voice starts to tire, you’re done and you can’t fix it without taking a break. After lead vocals we’ll usually go back and add extra guitar tracks and finally finish with vocal harmonies and any additional stuff like keyboards or percussion or random production ideas.

Was this any different to previous processes you have used?
It wasn’t any different, but throughout the past few years our demoing process has changed slightly. With advances in technology we’ve now been able to write/record ideas earlier and in a more complete fashion than the past. We used to just jam ideas at soundchecks, and maybe be able to record a live demo or two, or we’d literally have to enter a studio for a few days to record demos before we even started our preproduction for the records, but nowadays we’re able to just have a small recording setup on the road with us and make demos at any time in the comforts of our own bus or hotel room or backstage room, wherever we feel. So now what we’ll do is record a guitar idea through a laptop and then I’ll take that idea and write drums to it using plugins and fake drum sounds, so I can sit for hours and audition all different variations of beats without having to setup a full kit and mic it and all of that. After getting a rough demo done that way we can all sit there and listen and come up with vocal ideas and then have Jordan record a scratch vocal after a show or on a day off, and we can literally add harmony ideas and extra production ideas all before we’ve even entered a studio. It makes for a lot less guesswork when you’re actually in a studio and paying for the time, and allows the songs to grow even more since you are able to spend more time with them before you start the recording process.

Any guests involved? if so, who.. and what did they do?
Normally New Found Glory records involve tons of guests, almost always being a whole bunch of our friends. For this album, there weren’t any guests, although Aaron Sprinkle did play all of the keys on the record.

When it comes do naming the tracks, is there any particular approach or process to it all?
There’s no real process to naming the tracks, although most of our songs use the “normal” method, which would be to incorporate chorus lyrics into the title, or whatever line or phrase is sung the most. Although lots of times we will start off by having a rough title using chorus lyrics and then change it as we finish recording the album. For instance, the song “The Sound of Two Voices” was originally called “What I Want,” but I think we felt that “The Sound of Two Voices” was more appropriate given the overall lyrics and theme for that track.

Any particular equipment outside your usual live gear used in the process?
Again on this record there were a lot more layers of keyboards and guitars, so we incorporated keyboard plugins and sounds that we don’t normally use (and I’m still trying to figure out ways for us to recreate them in a live setting!). We also used a bunch of random guitar pedals, which isn’t really the standard for us either. I even did something pretty interesting while recording the song “The Sound of Two Voices,” which was to muffle all of the drums completely for a cool effect, whereas the rest of the drum sounds are wide open and rocking.

Any memorable studio moments?
I have one funny moment that occurred when we were all together for preproduction of the album. We had all gone to Chad’s favorite coffee spot one morning and upon pulling up to the place, we spotted one of our friends from the band Rise Against (Joe, the bassist) there, which was odd because they don’t live in the area. Turns out that they were about to start recording a new record themselves and just happened to be in the same city recording. However, as I was opening the car door to get out and say hi, Chad’s dog Alf (who had come with us for the ride) decided that he would use that moment to make a run for it, and he jumped out of that car and started running as fast as he could in the other direction. So, here I am, moments after saying hi to an old touring friend (mind you, I’m not best friends with Joe or anything) and we’re both sprinting after Chad’s dog, thinking to ourselves that this is going to end up with a very bad outcome. Well, after about 10 minutes of looking everywhere (and not finding Alf), Chad comes driving up to us in the parking lot and says that he got a hold of him about a minute after we ran off, unbeknownst to us, and so we basically ran around for 10 minutes for no reason. I’m sure every time I run into Joe from now on we’ll laugh about that day, and at the same time probably look twice for Alf before we make any sudden moves.

Any additional tracks recorded that didn’t make the cut but may see the light of day sometime?
Yes, there are a few extra tracks that we recorded that we’re hoping to release in the future. A lot of times we end up scrapping songs halfway through recording, or going into the sessions knowing exactly how many songs we’re going to finish, but this time we just recorded all of the tracks we had as of the day we entered the studio, and then decided later which ones we wanted to include on the album and which ones we would save for a later date.

What track/s are you most looking forward to playing live?
We’ve already started playing two of the tracks, “Happy Being Miserable” and “Party on Apocalypse,” and they’re both fun to play and have been getting a great reaction. But I’m most looking forward to playing the song “Call Me Anti-Social,” as it’s one of my favorite tracks on the record, and I think we’re going to start incorporating that song into our sets in the near future.

How would you compare the final product to previous releases?
This may sound cliché, but I’m real proud of this record and would put it up there near the top of the list of our albums. I think we made a very classic sounding record while still pushing the envelope for us, both musically and lyrically. The songs are catchy and fun to sing along to, and I think over time as we add more of these songs into our live shows we’ll all realize that they fit in with the rest of our catalog perfectly, complementing our sound while never sounding boring or overdone at all.

Anything else you want to say or about the release?
Go get it, listen to it, and learn the songs, because we’ll expect everyone to be singing along to them the next time you see us in concert!


Live Nation, UNIFY Presents and present…
20 Years of Pop Punk Australian Tour
8th – Metropolis, Fremantle [18+] Playing ‘Sticks and Stones’ & ‘Catalyst’.
9th – The Gov, Adelaide [Lic/AA] Playing ‘Sticks and Stones’ & ‘Catalyst’.
10th – Metro Theatre, Sydney [Lic/AA] SOLD OUT Playing ‘Sticks and Stones’ & ‘Self-Titled’.
11th – Metro Theatre, Sydney [Lic/AA] Playing ‘Catalyst’ & ‘Not Without A Fight’.
12th – Eatons Hill Hotel, Eatons Hill [Lic/AA] Playing ‘Sticks and Stones’ & ‘Catalyst’.
14th – Corner Hotel, Richmond [18+] SOLD OUT Playing ‘Sticks and Stones’ & ‘Coming Home’.
15th – Corner Hotel, Richmond [18+] SOLD OUT Playing ‘Catalyst’ & ‘Not Without A Fight’.
16th – Corner Hotel, Richmond [18+] SOLD OUT Playing ‘Self-Titled’ & ‘Nothing Gold Can Stay’.
—> Tickets available now.
—> For more information, visit [Here].

New Found Glory
new found glory

1. Your Jokes Aren’t Funny
2. Party On Apocalypse
3. Call Me Anti-Social
4. Happy Being Miserable
5. The Sound Of Two Voices
6. Blurred Vision
7. Say It Don’t Spray It
8. Barbed Wire
9. Short and Sweet
10. The Cheapest Thrill


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