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’s “Dream 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.
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.
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 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 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 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.
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 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
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!
Suburban Dinosaur is the work of Gonçalo Trindade, a Portuguese guitarist living in Berlin. He deserves applause for his choice of his pseudonym, let alone his music. Suburban Dinosaur: isn’t that just the best name? Trindade is also prolific writer, with this latest EP, Mountains, being his third release so far this year.
Mountains features seven short, calming guitar tracks with light piano accompaniment. This is a slight deviation from some of Trindade’s usual output. His last release sits more within the realms of noise/drone, and I even found some earlier works jarring. But I prefer this ambient direction. Serene acoustic guitar never fails to nourish my soul, and this EP hits the spot just so. The songs feel relaxed, slightly sad and soothing.
These softly picked recordings are intimate enough to let you hear Trindade’s fingers as they slide along the strings. The sparse piano notes only add to the mood, sensitively used to enhance where needed.
Although the EP feels cohesive and boasts the same vibes throughout, there’s enough subtle differences to delineate between songs. It’s not all entirely acoustic. Second track “Contritum Pecus” employs a delayed loop, almost like a heartbeat. “Heartstrings #1” stands out for its strumming, compared to the other tracks, which are fingerpicked. Whereas “Intertitle(s)” features only piano.
It’s a short EP, but beautiful all the same. Certainly a lovely 20 minutes of music worthy of adding to your collection.
I became friends with the guys in Tides of Man when on tour with Ranges last October. The two bands shared three dates on tour, as well as both playing the inaugural dunk!USA festival in Vermont. The day that I really got to know the guys in Tides was in Clifton, NJ. We got to the venue with plenty of time to spare, so after loading our gear into the venue we went on an adventure, exploring some nearby drains nicknamed “Gates of Hell”. Nothing like a shared adventure to help form a friendship!
That night I got locked backstage while the band played. It was during that set that I realised just how good the band was. I was already a Tides of Man fan based off their album Young and Courageous, but being able to watch them play that night, and the few nights that followed, added to my appreciation of the band.
I’ve been eagerly awaiting this new album since then. I was lucky enough to hear some of the new tracks played live in America, and again at dunk!festival in Belgium this May, so I knew that the record was going to be great.
Technically, this record is excellent. Most of the guys moonlight as sessions musicians, so are clearly adept at their craft and know their way around a studio. Not to mention that they have already released three other albums with which they could refine their sound and gel as a group.
I’ve listened to Every Nothing on heavy rotation for a month now. It’s an album that ages with time. With Every Nothing they’re trying new sounds, new textures, new feelings. And it’s stunning.
Most people’s first introduction to the album will be through the track “Static Hymn”, seeing as it is both the first single, and first track on the album. It warmly beckons us in, enveloping us with swirling haze. There’s a lot going on without it sounding overly busy. At 2.40 the music launches into blast beats and drill picking, melding a new hybrid of sounds that I’m going to nickname hope thrash – both intense and inviting.
Exploring sonic textural possibilities has paid off, because Every Nothing sounds so warm! They paint moody atmosphere with every masterful stroke. I can’t wait to get a copy on vinyl to hear it in its full glory.
It must be mentioned that Alan Jaye is a brilliant bass player. He dials his tones in – from the in-you-face intro of “Everything Is Fine, Everyone Is Happy”, to the spacey feel of “Outside Ourselves”. The solo bass during the drop out of “Waxwing” hits the spot so well.
His rhythmic counterpart Josh Gould matches him with talent and diversity, with plenty of interesting moments like the distant percussion outro in “Mercury Fields”, the open/close hi-hat playing in “Mosaic”. One hang up I have is that Josh’s drum tones could cut through more at times when his bright washy cymbals dominate the mix. I can’t fault his playing, I would just like to hear it more clearly in certain sections.
Possibly the best example of this Josh’s playing can be found in “Outside Ourselves”. Saturated with feeling, and offering sweet melodies, it is one the leviathan tracks on the album. Josh shows off his chops with prog drumming, playing around the beat with subtle finesse.
“New Futures” is one of the standout tracks, boasting powerful drumming and defined guitar playing. I dig this articulate sound, picking up Lost In The Riots kind of vibes. Josh brings us in on drums, with crisp rapping on the rims and alternate sticking on the hi-hats. The guitars come in looped layers of delay.
I hear a new side of the band in piano ballad “Far Off”. Solemn, ghostly and ambient, it’s a song with strong gravitas. And, going off on a wild tangent: what do we hear in the background at 1.19 mark? A child shouting something?
The This Will Destroy You influences are noticeable in “Death Is No Dread Enemy”. It’s hard to tell how much is digital or analogue within the mix, but there are certainly elements that sound electronic/triggered and offer fresh new textures and timbre. A brooding, searing piece that fluctuates between introspective and intense.
There are many brilliant moments to be found throughout Every Nothing. There are too many to list, but some of my favourite moments include during “Old 88″, when the sadness and longing explodes into something raw and defiant; The outro of “Keep Telling Yourself” with plucking sounds that mimic a lullaby music box; And the piece in “Waxwing” that transitions from harmonic riffing, to a bass solo, to everyone coming back in full force after the drop-out.
Strong emotions arise when I think of Tide of Man’s music. Being overwhelmed with joy when dancing along to “We Were Only Dreaming” every time I’ve seen them play it; Having raucous, carefree laughter as we drunkenly ‘sang’ the lead melody of “Young and Courageous” to some uninducted French Canadians in the back of a van after dunk!festival; Experiencing bittersweet sadness as Joey put on Young And Courageous in the tour van as we drove through New York state the day that our bands parted ways.
Every Nothing replicates these feelings, spanning the emotional spectrum as the band explores both the meaningfulness and monotony of life. Tender, mournful moments sit alongside intense elated explosions.
It’s a grower of an album, for sure. Bound to blow you away at first, but also rewarding you with new discovered intricacies upon repeated listens. There’s an undeniable homeliness to the record, being so warm, comforting and familiar. But even though it is settling, it also tugs you along on an epic adventure filled with exhilarating danger.
