Tag: post-hardcore

Shiner — currently, comprised of Jason Gerkin (drums), Paul Malinowski (bass) Allen Epley (guitar) and Josh Newton (guitar) — is a Kansas City, MO-based post hardcore act that initially formed back in 1992. Shortly, after their formation, the band signed to DeSoto Records, owned by Jawbox’s Kim Coletta and Bill Barbot, and had a prolific and busy six year run that included some relentless touring and a handful of well-received albums of hook-driven, power chord-based material that ended with 2001’s critically applauded The Egg.

The band broke upon 2002 but the The Egg was re-released on vinyl for the 10th anniversary of its release, and the band reunited to play a handful of sold-out shows to support it, including stops in Los Angeles, Kansas City and Chicago, which were some of the biggest shows of their careers. Interestingly, in 2018 the members of the band’s current lineup decided that the act wasn’t finished yet — and that their story should be continued onwards. After a handful of recording sessions over the next 18 months at Paul Malinowski’s Shawnee, KS-based Massive Sound Studios, the band emerged with their self-produced, forthcoming album Schadenfreude, which is slated for a May 8, 2020 release. We’ve always been extremely hands-on, even when working with someone else technically ‘producing,’” the band’s Josh Newton says. “With The Egg we ended up remixing and adding things to almost half the record on our own. At this stage in our existence, we know what we should sound like.”

Reportedly, the album not only finds the band not missing a beat despite the lengthy hiatus, the album’s material manages to stand on their own. “A lot of themes on the album are pretty dark but always with a silver lining around the edges,” the band’s Allen Epley says in press notes. “The title itself is a commentary on the most common human trait of enjoying your rivals’ demise. Or your apparent enemies.”

Last month, I wrote about “Life As A MannequinSchadenfreude‘s first single, Songs for the Deaf-era Queens of the Stone Age and One by One-era Foo Fighters-like dirge, which featured some arena rock friendly hooks. “The song came together very quickly; we had the arrangement laid out literally the second time through the tune,” the band says. “The simple kind of Willy Wonka vocal melody on the verse belies the heaviness of the lyrics and the urge of pure elation of giving into your worst tendencies, like scratching under a cast you know you really shouldn’t but it feels so good. Or the recovering alcoholic having a hard day and just deciding to really turn on and say ‘fuck it, i’m getting drunk tonight.’” Schadenfreude‘s second and latest single “Paul P Pogh” is an explosive track centered around enormous power chords, thunderous and angular drumming, arena rock hooks and plaintive hooks that sonically sounds like a sick synthesis of Superunknown-era Soundgarden and Thrice. But underneath the studio polish and self-assured performances, is something much darker.

“The name Paul P Pogh was a name I chose for my fake ID when I was in high school for buying beers at liquor stores in Louisville, which surprisingly worked,” the band’s Allen Epply explains in press notes. “It seemed appropriate for this song about ‘acting nets out to the liquor signs’ and a life spent chasing addiction.”

 

 

 

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Kansas City, MO-based post hardcore act Shiner — currently, comprised of Jason Gerkin (drums), Paul Malinowski (bass) Allen Epley (guitar) and Josh Newton (guitar) — can trace their origins back to their formation back in 1992. Shortly, after their formation, the band signed to DeSoto Records, owned by Jawbox’s Kim Coletta and Bill Barbot, and had a prolific and busy six year run that included some relentless touring and a handful of well-received albums of hook-driven, power chord-based material that ended with 2001’s critically applauded The Egg.

Shiner broke up in 2002 but in 2012, The Egg was re-released on vinyl, and the band reunited to play sold-out shows in New York, Los Angeles, Kansas City and Chicago, which were some of the biggest shows of their careers. In 2018, the current members of the Kansas City-based post hardcore act decided that the band wasn’t quite finished — and that their story should be continued into the future. After a handful of recording sessions over the next 18 months at Paul Malinowski’s Shawnee, KS-based Massive Sound Studios, the band emerged with their self-produced, forthcoming album Schadenfreude. “We’ve always been extremely hands-on, even when working with someone else technically ‘producing,’” the band’s Josh Newton says. “With The Egg we ended up remixing and adding things to almost half the record on our own. At this stage in our existence, we know what we should sound like.”

Reportedly, the album not only finds the band not missing a beat despite the lengthy hiatus, the album’s material manages to stand on their own. “A lot of themes on the album are pretty dark but always with a silver lining around the edges,” the band’s Allen Epley says in press notes. “The title itself is a commentary on the most common human trait of enjoying your rivals’ demise. Or your apparent enemies.”

“Life As A Mannequin” Schadenfreude‘s first single is a slow-burning, hook-driven, power chord-based arena rock friendly dirge that sonically — to my ears, at least — recalls Songs for the Deaf-era Queens of the Stone Age, One by One-era Foo Fighters and 90s grunge. “The song came together very quickly; we had the arrangement laid out literally the second time through the tune,” the band says. “The simple kind of Willy Wonka vocal melody on the verse belies the heaviness of the lyrics and the urge of pure elation of giving into your worst tendencies, like scratching under a cast you know you really shouldn’t but it feels so good. Or the recovering alcoholic having a hard day and just deciding to really turn on and say ‘fuck it, i’m getting drunk tonight.'”

The band will be touring to support their forthcoming album with a North American tour. Be on the lookout for tour dates.

 

New Audio: Acclaimed Act Thrice Releases An Anthemic Prog Rock-like Single

Comprised of founding members Dustin Kensrue (vocals, guitar) and Teppei Teranishi (guitar) with siblings Eddie Breckenridge (bass) and Riley Breckenridge (drums), the Irvine, CA-based rock band Thrice can trace their origins to its founding members meeting in high school and playing in a local band Chapter 11. When it came to starting their own project, Kensrue and Teranishi recruited Teranishi’s skate park buddy Eddie Breckenridge to play bass, and Breckenridge then brought his brother Riley to play drums, completing the band’s lineup. As the story goes, before their first show they realized that they needed name, and hard-pressed, they decided on going with Thrice, an inside joke between the bandmembers out of desperation. Although they had intended the name to be a temporary one, they began to gain fans and people started to associate them with it, so they were forced to stay with it.

In 1999, the band released the First Impressions EP, which was recorded during a twos-day session at A-Room Studios with Brian Tochilin. Only 1,000 copies were made and the individual bandmembers sold them out of their cars. Working with Death by Stereo’s Paul Miner, the Irvine, CA-based quartet recorded 12 tracks, which eventually became their 2000 full-length debut Identity Crisis, which was released through Greenflag Records. A portion of the album’s proceeds were donated to Crittenton Services for Children and Family, and with growing local buzz, the quartet caught the interest of Hopeless/Sub City’s Louis Posen, who eventually signed the band, and reissued Identity Crisis. To support the album the band toured with the likes of Samiam, Midtown and Hot Rod Circuit.

February 2002 saw the release of the band’s Brian McTernan-produced Hopeless/Sub City debut, The Illusion of Safety. Much like its predecessor, the band donated a portion of the album’s proceeds to a non-profit youth shelter in South Central Los Angeles, A Place Called Home, with the label matching all donations. The album received generally positive reviews and after tours opening for Further Seems Forever and Face to Face, followed by their first headlining tour, Thrice won the attention of several major labels, including Island Records, who signed the band, after agreeing to match the band’s charitable donations in the same fashion as Hopeless/Sub City. After signing with Island Records, the band toured with Hot Water Music and Coheed and Cambria before returning to the studio.

Interestingly with the release of 2002’s Illusion of Safety and 2003’s The Artist in the Ambulance, the band developed a reputation for a fast and punishing math rock-like sound centered around heavily distorted power chords, rapid time signature changes; however, with 2005’s Vheissu, the members of Thrice began incorporating synths, electronic beats and a much more experimental approach to their songwriting that continued through 2007 and 2008 with the release of The Alchemy Index, two albums that actually consisted of a 4-part, 24 song cycle, with each of the four 6-song EPs featuring significantly different styles based on the classical elements of fire, water, air and earth both lyrically and musically. 2009’s Beggars and 2011’s Major/Minor found the band continuing to refine their experimentation and exploration of their sound; but after the release of Major/Minor, Thrice announced a final tour and a hiatus.

In 2015, Kensrue and Teranishi decided to reform the band, and by the following year, they released their first album in four years, 2016’s To Be Everywhere Is to Be Nowhere.  Slated for a September 14, 2018 release through Epitaph Records, the band’s tenth full-length album Palms is their second post-reunion album, and the album which was co-produced by the band and Eric Palmquist reportedly finds the band’s sound encompassing everything from post-hardcore to piano-driven ballads, making it arguably the most sonically expansive album of their careers to date. Interestingly, the album’s latest single, the prog rock-like mid-tempo “Only Us” is centered around pulsating synths, enormous power chord-led guitar riffs, an arena rock friendly hook and Kensrue’s plaintive and earnest vocals. As the band’s Dusin Kensrue explains in press notes. “‘Only Us’ came from thinking about how easily we’re so divided into ‘us’ and ‘them’ when really we have an inherent ability to care for those in our group, and the parameters for who falls into that group are extremely flexible. It’s about how the things that we think separate us are actually inconsequential, and if we could broaden the idea of ‘us’ to include all people, it would help us build a more loving and civil society. “