Album Review: The End Of The Ocean -aire

The End Of The Ocean -aire cover
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I’ll admit that I hadn’t come across Ohio’s The End Of The Ocean before seeing them play at dunk!USA in Vermont in 2017, but any of my friends recommended them in the lead up to the festival, and sure enough they played one of the more memorable sets of the weekend.

I’m guessing that the key reason that they’d escaped my attention for so long is because they hadn’t released any music since 2012, which would have been when I was fairly new to the genre and still discovering what gems the world of post-rock had to offer.

But now they’ve ended the wait for new music, offering us the cryptically titled third album, -aire.

I could tell straight away that this album was worth my time. Album opener “endure” commences with light pads and piano chords – ok, atmospheric, setting the mood. But then the drums kick in – so punchy – and I could tell that The End Of The Ocean mean business.

They launch straight into the guts of it from there. The triumphant drums lead us through a euphoric movement that I’m tempted to label as a crescendo – but the energy doesn’t peak and die away. I must add that the mixing is fantastic, offering great depth and clarity.

“bravado” sustains the energy of the first track, offering more melodies and fury. It’s direct, relentless, and glimmering with beauty.

The End Of The Ocean really put the ‘rock’ into post-rock. Forget the loud-quiet-loud approach, these guys and girls go more for the loud-loud-LOUD style, simply adding to the music to increase the fullness and density of the sound.

The intensity doesn’t let up much until we reach the fourth track, “self”. It’s a tender song with pleasant guitar strumming that reminds me of Lights & Motion’sDream Away“. “homesick” follows suite, keeping the mood down for a bit, before bringing the volume back up where it belongs.

Drummer Wes Jackson is a force to be reckoned with. Not content to simply sit back and set the tempo, he injects driving essential energy into each track. Just listen to the blastbeats in “jubilant”!

Lead single “desire” is an ominious beast. Built around a piano ostinato, with the ever brilliant drums rapping on the rim, this is a powerful track. The best part is that unlike most post-rock music we are accustomed to, they don’t just use guitar crescendos and washy cymbals to build the mood, but instead add dynamic complexity to their playing to help the song grow.

This is post-rock that avoids cliché. Sure, it’s emotional instrumental music, but The End Of The Ocean manage to write great songs that avoid the same played-out tropes that every Explosions In The Sky tribute act. -aire pushes past the boundaries of the genre, offering simply brilliant tunes that reward the listener with energy and excitement. Yes, it’s atmospheric and moody, but this is music that demands your attention, not just tired background filler.

Although -aire starts out stronger than it finishes, it’s a solid album guaranteed to stir emotions and pique interest. Check it out and fall in love with it.


The End Of The Ocean links:

Pre-order link to the album: https://theendoftheocean.merchnow.com

Website: http://theendoftheocean.com/

Bandcamp: https://theendoftheocean.bandcamp.com/

Facebook: https://www.facebook.com/theendoftheoceanband/

Twitter: https://twitter.com/endoftheocean

Instagram: https://www.instagram.com/theendoftheocean/

Spotify: http://open.spotify.com/artist/4AXRViJcT2cJ0x1CxSSldW

The End Of The Ocean Tides Of Man Tour Poster

 Joseph James

Album Review: tide/edit – All My Friends

tide/edit All My Friends cover
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Regular readers will know that I teach toddlers for a living. It’s a lot of fun, drawing pictures, digging in the sandpit, building lego, reading stories, running around, acting silly, and generally doing things that don’t really sound like “work” (although believe me – it’s not easy!)

Trying to create a fun and vibrant feeling environment is an integral part of my job. It’s easier to learn things when we feel comfortable and at ease. I enjoy finding music that can help to elevate or lower the mood of the room, depending on the need. Relaxing ambient music by the likes of Rhian Sheehan or Steve Gibbs can help settle everyone down for the chilled out times of the day. And dance parties that feature Disney tunes from soundtracks like Frozen, Lion King and Moana are daily occurrences. But my favourites are upbeat post-rock and math-rock – fun stuff like Toe, Just Neighbours, Tom’s Story and Dorena.

Filipino quartet tide/edit just got added to that list. I can’t believe that they’ve escaped my attention until now, because this is exactly the kind of music I need in my life.

All My Friends ticks all the boxes: upbeat, energetic and melodic. It’s fun and interesting without feeling too distracting.

I’m sure that any math fans will know the deal: it’s happy, tappy music that makes you feel good and want to move your body. For the longest time I thought that math-rock only featured innaccesable bands like Dillinger Escape Plan or Messhuggah, which put me off. But bands like tide/edit have taught me that exploring different time signatures doesn’t alway make a band hard to listen to, it just means that they’re too talented for their own good.

But seriously, All My Friends is a great record. As the title would suggest, it’s the soundtrack to friendship and playfullness. We hear light tapping on guitar fretboards, twinkly riffs and busy drumming, all coming together to create wonderful music. “Chronograph” transports us to electronica territory with glitches in the beat. It doesn’t matter if you’re pumped up, or feeling dreamy and vacant, this music just makes you feel good about life.

Now I know that I cover a lot of instrumental music on this site, but I must disclose that the track “White Flag” contains (cover your ears, children)… vocals! Singing? How dare they? But jokes aside, Dee Cruz’s vocal addition makes for a lovely relaxing song.

It is the start of summer here in New Zealand, which means time spent with friends, cooking on barbeques, hanging out at beaches and rivers, and making time to enjoy what life has to offer. I dare say tide/edit’s carefree tunes from All My Friends will make worthy additions to the soundtrack.

image: Karen de la Fuente

STREAMING AND PURCHASE LINKS
Digital (Bandcamp): tideedit.bandcamp.com
CD (A Spur of the Moment Project): shop.aspurofthemomentproject.com
 
SOCIAL LINKS

WILL NOT FADE AWESOMENESS AWARD 2019 – DAVID ZEIDLER

NMH tent at dunk!fest 18
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NMH tent at dunk!fest 18
New Musical Horizons tent at dunk!fest 18. Zeidler and myself in front, with Guillaume Morette (centre) and the guys from Ranges behind.

Last year I invented an award for Adam Page, who deserved some praise for his work. Being an arbitrary award, I didn’t have set selection criteria or anything of the sort, I just think Page is awesome, and contributes a lot to the music scene.

So this year the choice seemed fairly obvious to me. And it is somewhat ironic that this recipient isn’t even a musician, but there’s no denying that he has contributed hugely to his music scene on an international scale.

I first came across David Zeidler through his writing. At the time he wrote for Echoes & Dust. Later on his was a key figure running Arctic Drones (the best post-rock site out there – give those guys some love!). And now he contributes to Heavy Blog Is Heavy

Funnily enough, is roots aren’t in music, but horror films. He cut his teeth writing for horror zine Fangoria, and organising cult horror film screenings in New England cinemas. Over the years he transitioned to post-rock music, using the skills he’d aquired through his writing and by running events.

Ranges, Cloud Shelter, Zeidler and Joseph Hard Rock Cafe Lyon
Outside the Hard Rock Cafe Lyon. Zeidler and myself in front, with the guys from Ranges and Cloud Shelter behind

Thinking back, our first interactions were when Zeidler asked me if I’d like to contribute to a Explosions In The Sky tribute he was assembling. 

Not long after he asked me to suggest some good local bands. He was working with CJ Blessum of A Thousand Arms [and Ranges, and also former WNF writer] to put out Open Language, an international post-rock compilation, and wanted to find acts from all over the globe so that they’d have a wide selection of music to showcase. A Thousand Arms now have six compilations out, which have helped countless music fans discover new bands from around the world.

Not happy to settle with the work he’d done already, Zeidler formed a few Facebook groups to cultivate an online community. One in particular is great initiative and an invaluable resource for all the creative figures in the game, who can reach out to find others for recording, touring, design, reviews, . It is common to see something along the lines of “Hey, my band x is trying to put a tour together in this region around these dates.”, with many others replying to help piece the tour together.

Now it’s one thing to organise and promote a few local shows, or even provide a platform for others to do it themselves, but Zeidler decided to jump in the deep end and organise a music festival with an international line-up. 

dunk!USA 2017 poster by Error Design

Inspired by a trip to dunk!fest in Belgium, Zeidler decided that America needed something equivalent. He began working on putting on dunk!USA  in his hometown of Burlington, featuring a stellar line-up from America, as well as a few international acts. He already had a full-time job, plus his work writing for Arctic Drones, but decided that jumping in the deep end and taking the workload of organising a festival of this size with within his capabilities.

dunk!USA wasn’t a total success in a financial sense, but it provided a springboard for launching this year’s post. Festival in Indiana, and paved the way for possible future dunk!USA events. It was well run, felt professional, and brought many bands from the American scene together.

I personally had a great time at the event. I’d been on tour with the band Ranges, working as a roadie/tour blogger, helping with set ups/pack downs and documenting the tour with my writing and photography. The festival was the climax of said tour. I was stoked to finally meet David in person once we’d arrived in Burlington, and we even stayed at his apartment.

drunk Joseph
Drunk Joseph during Astronoid at dunk!USA. The back of Zeidler’s head far right. Image taken from Behind The Scenes footage in the forthcoming Ranges DVD The Ascent

The following year Ranges invited me back on tour with them, this time in Europe. But they also invited Zeidler.

I’ll be honest, I felt threatened. I thought I’d already proved myself when touring with Ranges in America. Why did they need another blogger?
Arctic Drones has a far greater reach than I’ll ever have, so I was worried I’d be stuck under Zeidler’s shadow.

I needn’t have worried. Zeidler wasn’t trying to steal my job (can I call it a job? It was unpaid. Internship maybe?). We have different focuses anyway – Zeidler writes about foods he ate on tour, whereas I’m more Gonzo styled and write about the crazy character I meet, or shenanigans I get up to.

We shared some quality time together, eating fine European foods. It was nice to have a friend to spend time with who was free when the band was doing soundcheck. We ate fine cheeses and meat in Paris, and went on a crepe date in Lyon.

Tour van
In the Ranges tour van in Europe. Image: Luxinvictus

These days Zeidler is writing for Heavy Blog Is Heavy, and runs PR company Young Epoch – an arm of A Thousand Arms which focuses on promoting bands and running smaller local events. I wouldn’t be surprised if he makes an appearance at dunk!fest in Belgium again next year, or has a part to play in organising another USA festival in the next year or two.

So there you have it: music promoter, festival and show organiser, publicist, and stalward of the international post-rock community – David Zeidler, recipient of the 2019 Will Not Fade Awesomeness Award.

p.s. Zeidler snores like a bear.

Joseph James

Live Review: Living Colour at San Fran, Wellington

Doug Wimbash Living Colour San Fran Wellington
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Living Colour were my stand out band of 2017. I managed to interview drummer Will Calhoun early on in the year (one of the highlights of my blogging career). Their Auckland show at Powerstation was incredible – easily my favourite gig of the year. A few months later, when travelling in America, I was fortunate enough to catch guitarist Vernon Reid put on a Chuck Berry tribute night in New York. And then in September they dropped the awesome new album Shade.

So imagine my pleasure when they announced another tour which included a Wellington date. I would have happily flown up to Auckland again to see them, but managed to save the money on flights and accommodation, and got to see them at a more intimate venue!

Curlys Jewels San Fran Wellington

Curly’s Jewels opened the night with a bang, launching straight into the set with plenty of energy. They’re exactly as I remembered them from when they opened for Skinny Hobos in June, with colourful singer Jel Pollock injecting plenty of character into the show. I noticed that the crunchy guitar tones sounded especially good at times, and should come to the forefront more. There were a few slight hiccups, but they managed to deliver with their brand of fun rock music.


This tour marked the 30th anniversary of Living Colour’s landmark debut album, Vivid. It’s an album that still stands the test of time, both musically and thematically. I remember discussing the political nature of many Living Colour songs during an interview with Calhoun last year, and he suggested that the human rights issues that the band writes about will always need to be fought for – regardless of  which government is in power. Issues like discrimination, racism and gentrification are still just as prevalent in society now as they were decades ago.

And of course, the music is still excellent. It’s fascinating how the songs have evolved as the band have played them over the years – speeding up parts, adding different fills and flourishes, adding and extending some sections, and breaking down other segments. Its only natural that the band would change how they play things over such a period. Heck, in a hilarious recent interview with May The Rock Be With You, guitarist Vernon Reid confessed that he plays completely different solos in different pressings of the same song.

Vernon Reid Living Colour San Fran Wellington

Singer Corey Glover is phenomenal, no doubt about it. He can switch from soul to hip hop to hard rock with ease, and this was most apparent during “(Open Letter) To A Landlord”. He really broke the song down, showing off his impressive vocal range with powerful trilling. The crowd reciprocated towards the end, loudly singing the chorus back at the band. It sounded great.

Vivid was the name of the game, but that didn’t stop the band from visiting other albums. They played two tracks from last year’s Shade: “Freedom of Expression”, and my favourite from the record: “Come On”. It’s a shame that the cover of Biggie’s “Who Shot Ya?” got dropped from the set, because their hard rock interpretation of the hip hop classic is fantastic.

Living Colour San Fran Wellington

Not only did Glover have vocal chops, but good banter too. He had many comical exchanges with Reid throughout the night, the two of them sniping at each other like an old married couple. This is the third time I’ve seen the two of them together on stage, but it’s still just as funny now.

“These are old songs” Glover shared. Reid shot him a look. “No, they are,” Glover continued, “They’re really old and that’s the truth. Some of y’all weren’t even born when these songs came out.” I had a little giggle at that one, seeing that the statement applied to me.

At times it felt like the band verged on overplaying, to the point of doing a disservice to the songs by being too flashy. I guess it’s hard for musicians of that calibre to hold back when they have such talent they can draw upon. But they came here to put on a show, and they sure succeeded in doing so.

My highlight of the set was Doug Wimbash’s bass solo. Wimbash boasted the biggest pedal board I’ve ever seen a bass player use [ironically, master bass player Thundercat has the most minimalist bass pedal setup I’ve noticed]. He dedicated his song to his wife and the lovers in the crowd before launching into sounds I didn’t even think possible from a bass guitar. He created layers using a looping pedal, building it up to an expansive track that swept us away. It was fun to watch too, because he would act out the sounds as he played them, sweeping from side to side as he used his wah pedal, or mouthing the sounds as he accented certain notes.

Doug Wimbash Living Colour San Fran Wellington

Calhoun also had a solo later in the set. You can probably already tell I’m a big fan, but he deserves the praise. First of all: he’s just a fantastic player. He’s all over the kit, tastefully colouring in the sound with all percussive means at his disposal, and throwing in plenty of metal blast beats just to mix things up. Secondly: he’s innovative. He has all manner of weird and wacky custom cymbals, drums and hardware that he helps to design, but his solo takes him beyond drumming when he uses electronic hand drums and modulators. During his solo he took time out from behind the kit to lay down an electronic track with looping pedals, before returning to the drum set to play over the music he’d just formed. A truly next-level musician who thinks beyond the constraints of his instrument.

For the encore, Reid was about to launch into a spiel, but caught himself and just offered: “You’ll know when you hear the guitar line”. Sure enough, he played the recognisable chords to Soundgarden’s “Blow Up The Outside World” and nothing more needed to be said. Chris Cornell’s death impacted rock fans around the world, so this rousing tribute came as no surprise.

It was their second cover of the night, the other being “Memories Can’t Wait”, by CBGB’s contemporaries Talking Heads.

Doug Wimbash Living Colour San Fran Wellington

They finished the night reinforcing just how diverse and able they are, transitioning from the furious thrash metal of “Time’s Up” to the infectious funky call and response of “”What’s Your Favourite Colour?”. Both songs were extremely fun to dance to in their own ways.

I watched the crowd disperse after the show and noticed that a number of notable NZ musicians had been in attendance, such as Rhian Sheehan, Steve Bremner and Jakob drummer Jason Johnston. To me, that’s as good as any indication that Living Colour have got the goods – if some of the best in the game show up for the gig.

And it was damn good. Sure, there were a few technical hitches, but Living Colour are some of the best musicans I could name. I’m still shocked that they came to play a small bar in Wellington, but I’m stoked that they did.

Living Colour Set List San Fran Wellington
The set list. 

Words and photos by Joseph James

“The Punk Rock Kids Of Post-Rock”- An Interview With The End Of The Ocean

The End Of The Ocean dunk
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I befriended some of the members of The End Of The Ocean at dunk!USA  when I was touring with the band Ranges last year. Their set was standout for a variety of reasons, but I’ll share a story of my personal connection.

I was at the front of the stage in the photo pit, taking pictures. Trish and Tara were both head banging as they played and I was trying to capture some shots of their hair flicking about. Tara got a bit too into it, and somehow lost balance, knocked her keyboard over, and fell over herself. I jumped up to help her reset her instrument, at the same time worried that I’d get in trouble for going onstage.

Tara was super grateful, and bought me a lot of drinks when we came through her home town of Columbus a few nights later. In all honesty, I can’t remember the all of exact details from Columbus, but I think I became a bit of a handful after too many beersies. I’m told that I got kicked out of a pizzeria, with someone from one of the bands carrying me away over their shoulder, quoting Lord Off The Rings while doing so.

So anyway, I think that The End Of The Ocean are pretty cool. Their music is great, and they’re fun to hang out with. After a long break, they’re back with two new singles, an upcoming album put out through the label Equal Vision, and an upcoming tour with my friends Tides Of Man.

What follows is an interview that probably contains too many stupid in-jokes, but I hope it illuminates who The End Of The Ocean are, and gives you insight into a great band with a great sense of fun.

The End Of The Ocean dunk!USA

The End Of The Ocean at dunk!USA 2017. Image: Will Not Fade

Joseph (Will Not Fade): What inspired the video clip for “bravado”? Slipknot’s “Before I Forget“?

The End Of The Ocean: We compiled a list of wacky ideas and randomly selected three elements that we liked. Our original idea for the video was to have a food fight in our animal masks whilst blowing firecrackers at each other (firecrackers are a normal staple in our van when we’re on tour.) Kris Herrmann, the videographer and director for the “bravado” music video, had a less messy vision in his head with a lot of fantastic suggestions, including a stylistic nod towards Slipknot’s “Before I Forget” video. We are very pleased with how the music video ultimately turned out.

Does your music have a message?

Of course. And it’s up to each individual to decide what that message might be.

What sets this new music apart from your previous output?

During the writing process we accepted that we could not bear the burden of fans’ nostalgia from our previous releases, which left us unafraid to probe our inner space and musical capabilities more freely. Individually, we were all dealing with a series of blows that life threw our way. The emotions and growth we all experienced forged a different fury and wonderment that we hadn’t tried to express musically before. Our new album is a bit more straightforward in some parts, angry, hopeful, even a little playful, and peppered with enough blast beats throughout for every man, woman, and child.

Tell me about working with Mike Watts. How did this partnership come about?

Mike is the man. His previous work speaks volumes on it’s own (producer for The Dillinger Escape Plan, Glassjaw, As Cities Burn, Hopesfall, etc.) and we were lucky enough that Equal Vision could hook us up with him. Mike was super intuitive to how we wanted this new album to sound, and he hit it out of the park.

The End Of The Ocean dunk!USA2017

The End Of The Ocean at dunk!USA 2017. Image: Will Not Fade

I’m intrigued by the album name -aire, could you explain the meaning of it?

The concept of our album stemmed from examining and discussing our humanity, what a strange trip it is to be alive, and the intense elements of our experiences that make us who we are. -aire is a suffix that forms nouns denoting a person characterized by or occupied with that named by the stem. We thought this suffix communicated all of these questions we were asking ourselves beautifully and abstractly.

Also, one of our bandmates is obsessed with the John Wick series and got part of the inspiration for the album name from one of those movies.

How have fans reacted to the two singles (“Bravado” and “Desire”) so far?

Our fans have always been ridiculously generous and supportive of our music. The response so far has been super. (Thanks, dudes!)

How has your approach to writing music changed since you started The End Of The Ocean?

This is the longest held lineup we’ve ever had in this band. So, basically, we argue less during practice and writing?

Generally speaking, we write most of our music together and historically that’s how our band has always done it. Not much has deviated from that.

I think that it is so awesome that you have two women in the band. What message have you got for any girls wanting to get into music?

Trish: Go for it. Just do it.

Tara: There’s nobody holding you back but you.

Do not enter this musical world with a victim complex. It’s boring and will only make you a sorry sack of excuses for not putting in the work.

If you’re a woman, you already know how many opinions and stereotypes with which you have to contend on a daily basis. Transcendence is harder than resigning yourself to other people’s’ opinions, but it makes you mighty. No wilting. No whimpering. Jump in head first and get ready to laugh at yourself often!

From Tara and Trish: If you’re a woman at one of our shows, please feel free to approach us if you’d like. We’re constantly in the midst of a sausage party when we’re doing band stuff, and it’s nice getting small breaks from all that. Sisterhood, unite!

I remember hearing that you’ve signed to Equal Vision when I was in Columbus last year. Has it been hard keeping this a secret?

We pretty much told all of our friends immediately. The only thing we didn’t do was post about it online until the label gave us the green light for the official announcement. Heh.

The End Of The Ocean dunk!USA

The End Of The Ocean at dunk!USA 2017. Image: Will Not Fade

In the past you’ve done DIY packaging for making your CD’s. Do you think this has helped you forge a closer connection with your fanbase? Do Tara and Trish really kiss the tshirts and CD’s?

It was a cool feature, but we aren’t aware of it making a deeper connection to our fans. Ultimately, the DIY packaging set the stage for us to develop minor carpal tunnels syndrome, watch cool movies together while folding and stamping the sleeves, and for Tara to make fun of Kevin for how much Type O Negative he listens to on a regular basis.

Tara and Trish do not kiss any merch. Sorry, guys and ghouls. They have, however, accidentally sneezed on or briefly worn some of the merch. Who doesn’t like laughing hysterically at a child-sized woman trying on a XXXL shirt? (Obviously referring to Trish. Tara is sizeably more like an average-sized man.)

Are we ever going to hear a split release with The Ocean Collective? Or We Lost The Sea?

Who?

Kidding. We’d bet $5 they’d probably respond the same way about us.

How about a HIM or CKY split, yeah?

I remember during your soundcheck at dunk!USA you promised Nickelback covers. Have you ever followed through on such threats?

Don’t be afraid. Keep coming to our shows to find out. Maybe we’ll throw in some Creed too.

It was a fantastic set that really stood out. I loved the extra touches, like throwing beach balls into the audience and the Walking Dead sample. At a post-rock festival like dunk!, many of the bands sound similar, and struggle to appear unique. How do you come up with ideas for making your shows interesting?

Thank you for the generous compliment. We just like to have fun as a band and don’t take ourselves too seriously. Most of our ideas come from us joking around in the van because we’re bored. The props for dunk!USA were a fun idea until the smokers in the band realized the joke was on them and they had to blow up all the beach balls by themselves. Yadda, yadda, straightedge revenge or something? Thanks a lot, Wes and Kevin.

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We made @rangesmusic a traveling companion. #faceoff

A post shared by Man Mountain (@man_mountain) on

Shown above is one of the beach balls from the dunk!USA set. The guys from Man Mountain added some creative touches and gifted it to their tour buddies Ranges.

 

Tell me your coolest nautical related story.

That ferry we took to get to dunk!USA in Vermont was pretty siq.

Wes, what is the secret to keeping your flesh beautiful?

Pringles. Red Bull. And the most diverse array of gas station delectables you could possibly imagine.

(Joseph, it’s hilarious you remembered us mentioning this while we were all hanging out at dunk!USA. Side story to fill everyone else in: When we were on tour a number of years ago, our drummer Wes was sitting outside the venue we were playing in Tempe, Arizona. We didn’t realize the adult bookstore next door was also a known glory-hole hot spot. So, as our sweet little Wesley was killing time by himself before our set, a suspect man approached him from the aforementioned adult bookstore and said with a thousand yard stare, “You have beautiful flesh.” The man, while creepy, isn’t wrong. Wink wink)

The End Of The Ocean dunk!USA2017

The End Of The Ocean at dunk!USA 2017. Image: Will Not Fade

I remember hanging out with Tara and Bryan in Junius’ hotel room after dunk!USA. A few of the guys from Caspian were there too. That was a big moment for me, realising that my small music blog had been a catalyst for travelling around the world and hanging out with some musicians I held great admiration for. Do you ever have moments where you have to step back and take stock of how far you’ve come?

That was a fun night! And yes, we have those big picture moments all of the time. Band life is absurd, so when you approach this lifestyle with a spirit of humility and gratitude, it isn’t difficult to get smacked squarely in the face with awe when stuff gets really meta.

You frequently do the “hardstyle” pose in your photos, and this has begun to spread within the post-rock community. I’ve been in a bunch of said photos with the likes of Ranges, Man Mountain and Cloud Shelter . Do you know where the hardstyle pose originated, or how it became popularised?

Prison. Hardstyle posing was also known as a “prison pose”. The tough guy hardcore scene is a sub-group that adopted this photo pose. And we took it from the hardcore scene and brought it to post-rock.

Our very own Kevin Shannon is also the originator of the #dailyhardstyle hashtag on Instagram. Bless.

What rules do you have in place for staying sane/healthy on tour?

Headphones. Sleep whenever it’s possible. Drink lots of water and juices. Bring a good book and keep feeding that noodle so it doesn’t turn to mush.

What is the best pizza flavour?

Trish – Pineapple

Kevin and Wes – All pizza is good pizza. No slice left behind. (Only it it’s vegan.)

Tara – Your dad’s b-hole

Crazy riders belong in the pantheon of rock mythology, with hilarious stories from the likes of Ozzy Osbourne and Van Halen. That said the greatest rider I’ve ever seen was yours from dunk!USA. Where did you find such inspiration?

One of us was bored one night and just started compiling the list. We wanted David Zeidler [the dunk!USA organiser] to know what he was “in for” when we rolled through town for dunk!USA. If you aren’t laughing, you ain’t living, my friend.

David Zeidler called you the “punk rock kids of post-rock”. Do you think you deserve this title?

We love it. We’ll take it.

The End Of The Ocean dunk!USA hospitality rider

The End Of The Ocean dunk!USA hospitality rider

What have been your career highlights to date?

Definitely playing the main stage at dunk!fest in Belgium. We still talk about it almost every single time we’re all together jamming or hanging out. It’s one of the best festivals out there to date.

And how about the worst moments?

Not having AC in our van for a six and a half week tour in the summer of 2012. Vinyl seats are no bueno in that type of scenario.

As you know, I talk funny because I’m a New Zealander, and Jakob are one of the best bands from my country. Did you befriend them when you both played dunk!festival 2015 in Belgium?

Unfortunately, we never had the pleasure of meeting them. Jakob is great, though!

Which bands are your faves for playing/touring with?

In most cases we’d say the heavier, the better. Our live performance is a bit of a tempest, and we just love performing with other bands with similar energy.

Some fantasy tours: Kevin – Bruce Spingsteen, Type O Negative, Bush Wes – Behemoth, NIN, Sigur Ros Trish – Thursday, Thrice, The Story So Far Tara – Bjork, Die Antwoord, The Misfits

Usually a new single signals an upcoming album, and then a supporting tour. What plans do you have in the works?

Our new album “-aire” is coming out January 18, 2019 through Equal Vision Records! We are also hitting the road for a headlining tour with Tides of Man in tow. Check the dates below and we look forward to seeing you guys soon!

The End Of The Ocean

Image: Bee Gats

THE END OF THE OCEAN -AIRE TOUR

WITH SPECIAL GUESTS TIDES OF MAN

JAN 18 COLUMBUS, OH AT ACE OF CUPS

JAN 19 CHICAGO, IL AT BEAT KITCHEN

JAN 20 DETROIT, MI AT EL CLUB

JAN 22 TORONTO, ON AT LEE’S PALACE

JAN 23 MONTREAL, QC AT CASA DEL POPOLO

JAN 24 NEW YORK, NY AT SAINT VITUS

JAN 25 ALLSTON, MA AT GREAT SCOTT

JAN 26 PHILADELPHIA, PA AT MILKBOY

JAN 27 BALTIMORE, MD AT OTTOBAR

The End Of The Ocean Tides Of Man Tour Poster


The End Of The Ocean links:

Pre-order link to the album: https://theendoftheocean.merchnow.com

Website: http://theendoftheocean.com/

Bandcamp: https://theendoftheocean.bandcamp.com/

Facebook: https://www.facebook.com/theendoftheoceanband/

Twitter: https://twitter.com/endoftheocean

Instagram: https://www.instagram.com/theendoftheocean/

Spotify: http://open.spotify.com/artist/4AXRViJcT2cJ0x1CxSSldW

 

Joseph James