About this interview
In a 2009 interview with Ryan Minic of Ryan’s Rock Show, Glassjaw members Daryl Palumbo, Justin Beck, and Manuel Ragoonanan Carrero reflected on their long history, creative struggles, and frustrations with the music industry. They admitted this was their first on-camera interview together in seven years, emphasizing how much they had avoided the spotlight over the years.
The band discussed their early days, forming in 1993 with a simple goal—playing hardcore shows and putting out an EP. However, their first attempts at recording were disastrous. They recalled being sent home from the studio by a producer who bluntly told them they weren’t ready, a humbling moment that taught them the importance of being well-rehearsed before stepping into a recording session.
Despite always taking their music seriously, Glassjaw never approached their career with a traditional “band cycle” mindset. They resisted the write-record-tour-repeat formula that most bands followed, preferring to do things on their own terms. Beck explained that they never set out to chase industry success, but rather to make music they genuinely enjoyed. Even as they grew in popularity, they never had a plan to tour for years straight or become part of a corporate label system.
When they were first offered a record deal, they initially told the label to “go f— themselves,” as getting signed was seen as a taboo in their DIY hardcore scene. However, after much persuasion, they eventually signed and worked with producer Ross Robinson on their debut album. Reflecting on that experience, they credited Robinson with teaching them how to convey raw intensity in their recordings. He pushed them to exaggerate emotions and energy in the studio, much like how actors amplify expressions on film. His influence helped Glassjaw translate their chaotic live energy onto record.
The conversation shifted to their growing disillusionment with the music industry, particularly after signing with a major label. They admitted that once money, managers, and outside agendas got involved, the fun started to fade. Beck described how, after signing, the band lost control over their own decisions. The label assigned them a team—booking agents, lawyers, managers—without much input from the band. At first, they went along with it, but as they got older, they realized how much money was flowing to the wrong places while they were barely making anything. Palumbo noted that they were young and naïve, unaware of how business worked, and often scolded for asking questions about where their earnings were going.
One of the high points of their career came in 2005 when they broke away from industry expectations and started playing music purely for themselves again. That year, they streamlined the band down to a tight-knit core of members who shared the same vision. It was also the moment they realized they no longer had to be part of the record label cycle and could play for love rather than commercial success.
A particularly memorable moment for them was their first headlining show at Brixton Academy in London. Palumbo recalled being terrified before the show, assuming the crowd wouldn’t know their music, especially since their album wasn’t even out yet. But as soon as they played the first note, the entire venue erupted in song, with thousands of fans singing along. That moment, he said, was one of the best of his life.
However, they also expressed frustration with Roadrunner Records, particularly the label’s reissue of Everything You Ever Wanted to Know About Silence. The band was completely against the re-release, calling it embarrassing and poorly executed. Beck criticized the label for running basic EQ over old recordings and including demos that were never meant for public release, making it seem like new material when it wasn’t. He described the move as a cheap cash grab, emphasizing that it was done without the band’s input and felt spiteful.
Regarding new music, the band confirmed that they had material recorded but were stuck in a state of uncertainty due to past legal agreements. They expressed frustration that decisions they made at 21 years old were still affecting their ability to release music freely. However, their ultimate goal was simple—they just wanted to put out music on their own terms. Beck said that ideally, they’d be able to record a song on a Sunday night and release it by Monday morning, embracing spontaneity and artistic freedom.