Album Review: Tides Of Man – Every Nothing

Tides of Man Every Nothing cover
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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.

Tides of Man dunk!festival 2018

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.

Tides of Man dunk!festival 2018

“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.

Spencer Tides of Man dunk!festival 2018

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.

 

Order physical copies of Every Nothing from A Thousand Arms:
https://athousandarms.store/collections/tidesofman

Tides of Man dunk!USA2017


Tides of Man links:

Facebook: https://www.facebook.com/tidesofman/
Bandcamp: https://tidesofman.bandcamp.com/
Twitter: https://twitter.com/tidesofman
Instagram: https://www.instagram.com/tidesofman/
Youtube: https://www.youtube.com/channel/UCGu5lp7dVJNbsYCEjN2Mk_A

 

Words and photos by Joseph James

Infinite Ceiling: An interview with Tides of Man

Tides of Man soundcheck dunk!festival 2018
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I befriended Florida-based Tides of Man last year when they played a handful of shows with the band Ranges, who I was on tour with. We fast became friends, and hearing them play unreleased songs every night raised my expectations of upcoming album, Every Nothing.

They called me by my nickname of Baggins – a New Zealand/ Lord of the Rings reference that Ranges started – and we shared some great times on the road. It was a ridiculously fun week involving lots of beer, Taco Bell, sleeping in tour vans and listening to great music. I was fortunate enough to see them again half a year later, when they played dunk!festival in Belgium this May.

Their last album, Young and Courageous, stands as one of my favourites. And Every Nothing follows suit as a well-crafted, emotionally charged masterpiece.

I interviewed guitarist Spencer Gill to find out what Tides of Man have been up to in recent years, and to learn a bit more about the new record coming out.

Spencer Tides of Man dunk!festival 2018

Spencer at dunk!festival 2018

Joseph James (Baggins) – Will Not Fade: First up, congrats on the new album. I know you’ve put a lot of time into Every Nothing, so it must feel good to see all that effort coming to fruition.

Let’s go back a bit to start with. Tides of Man started off as an entirely different sounding project. To me, your earlier albums sound like Coheed & Cambria. Then Tilian (vocals) left, and after failing to choose on a new singer, you decided to continue without one. How did your old fans react to Young and Courageous being an instrumental album?

Spencer Gill – Tides of Man: Our old fans were very open to our new sound. We had overwhelming support on our crowdfunding campaign from our existing fanbase and a lot of people were very happy with the transition. Of course there were people who didn’t appreciate the transition, but that’s completely natural in any big change I think.

How does writing instrumental music compare to writing music that features lyrics?

It’s definitely different. You can’t rely on a Verse/Chorus structure, and you have a lot more space to fill than if there were vocals there. I think each part has to be chosen carefully and you have to keep the melody interesting. The feel of a build, or the tone of an individual instrument suddenly becomes very important when it’s not sitting back in the mix underneath vocals. 

Does your music have a message? What inspires the songwriting process?

We like to be subtle with our message. We feel that music (especially instrumental) has a lot to do with the listener’s personal connection to it. We definitely have a certain theme in mind for each album, but we like to leave a little interpretation there for the listener.

Inspiration for us comes from so many different things. Dan could be listening to a new record and really like the tone of some guitar and then we kind of pull from that and write a whole new song. We could be jamming in the practice space, and all of the sudden Alan and Josh just lock into some cool groove out of nowhere. A lot of our songs start off like this, then we quickly record them and rework them until we are completely happy.

I know that a lot of people I’ve talked to discovered Tides of Man through Audiotree. Tell me about the experience of recording an Audiotree session.

That was full-on nerve racking. But the guys at Audiotree made it so smooth, and were very nice to us. They guided us through the whole thing. 

We thought it turned out great, and the recording quality was unreal! We are super thankful to Audiotree for having us on there, and we have definitely noticed that as one of the top ways that people have discovered our new music.

It has been four years since you released your last record. Talk me through what you’ve been doing since then.

Writing, jamming, re-writing, scratching everything all together, fully second guessing all of our ability to write anything again, then re-writing again. In the end, we are finally happy with our new record and proud to put it out. We have put a lot of late nights into this album and we made it a point to never compromise if we didn’t like something. We kept working at it until we were happy.

Dan Tides of Man dunk!festival 2018

Dan at dunk!festival 2018

This is your fourth studio album. How have things changed since you released your first EP ten years ago?

Ha! We are better musicians for sure. We know our way around a studio now, and can really focus on getting great tones and making the studio make the song even better. Before, we were scared of the metronome, and had no idea what we were doing as far as amp selection, drum selection, production, etc. But I think every band goes through that transition of getting familiar with the studio and then using it to their advantage.

Are emo fringes ever going to come back in fashion?

Did they ever go out of fashion? Is this because we used to rock that haircut? 

Haha maybe…

You used crowd funding when recording Young and Courageous. Why didn’t you opt to do that again for Every Nothing?

The last crowd funding campaign was awesome, but we always intended to make the band support itself as a business. Putting out Young and Courageous on our own without a label allowed us to make that a reality. We wanted to make the band do Every Nothing on it’s own dime. It forced us to make decisions with our money and be responsible not only as musicians, but as a business.

Alan Tides of Man dunk!festival 2018

Alan at dunk!festival 2018

On a related note, how does recording and releasing an album independently compare to when you were signed to Rise Records?

There’s a lot more work involved to be short. When you are on a label, you get booked in a studio and show up to record your album. They take care of marketing, packaging, design, distribution, etc. That’s all on us as an independent band. 

We are involved in every aspect of the release of the record, right down to arguing about what exactly should be on the center label of the vinyl.

A Thousand Arms are awesome, and I love those guys so much, but is there an easier option for ordering the record for those of us who don’t live in America?

We are in the works of setting up European distribution of vinyl.

Every Nothing sounds a lot heavier than Young and Courageous. Was this a conscious decision you made when songwriting?

I think it was a natural progression that just sort of happened. The quiet parts are quieter, and the loud parts are louder. That’s how we felt at the time of writing these particular songs.

Tides Of Man setlist from their US tour last year

Tides Of Man setlist from their US tour last year

I notice that the song names written on your setlist from tour last year differ from the new album track names. Have you renamed them, or are there some b-sides in the works?

We have horrible working titles for our tracks, and we have them for so long that we tend to remember them as that title rather than the actual title on the record. A B-Side or two may be in the works, but no promises.

Joel Frieders discovered that on your last album, the track “Hold Still” starts like the Yo Gabba Gabba song by the same name. Have you hidden any Easter eggs like that on the new record?

Ha! That was an absolute coincidence. Someone told me the other day that it apparently has a train noise in a section of it too. 

As far as we know, there are no similarities to any children’s tv shows in our music, but we would be happy to find out after the fact that we accidentally ripped off Barney.

Many of you work as studio musicians. Which has more pressure: playing for other musicians, or working on your own project?

Playing for other musicians is definitely a job in and of itself, and we always want to deliver exactly what each client wants, so there is pressure for sure.

But writing your own music has so much more. It’s hard to explain why, but it feels like you are laying your identity on the line with each note, and if you mess it up you’re done for.

I know that the artwork was one of last things that you sorted out for this album. Would you care to talk about the album cover and general art direction? I know that Dan does design, and Alan is a photographer, so the visuals must be important to you.

Design is definitely important to us. As an instrumental band, all we have to communicate the feel of the record is the design and song titles, so we spend a lot of time throwing ideas back and forth on the direction and how it fits the album. On this one we wanted something that showed mundane everyday existence against pure nothingness. The album is really about the interplay between our fixation on mundane, meaningless things and the bigger picture that we forget to look at.

I should also add that the video for “Static Hymn” is great.

Thanks! Stephen Mlinarcik brought that idea to life! He was awesome to work with.

Tides of Man is based in Tampa, Florida, but Josh lives in London, and last I heard, Alan lives in LA. How do you make it work with such big distances between you all?

Luckily we all enjoy traveling. We always have a home base in Tampa, and Josh and Alan never hesitate to fly in and stay for a while. We’ve never had a problem with the distance.

I’ve seen you play at dunk!festival in both the US and Belgium and you have Arctangent coming up. Does your approach change between playing festivals and standard shows?

We try to simply play our music well and feel it with the crowd. I don’t think that should be any different between festivals and standard shows. 

You’ve played with some great bands during your career. I can imagine that the Karnivool tour would have been incredible. And you were all buzzing when I last saw you in Europe after playing with EF and aswekeepsearching. Which bands have you most enjoy playing with, and who do you still to aspire to share a stage with?

Karnivool was definitely a treat to watch every night. We also really enjoyed playing with Rare Futures (formerly Happy Body, Slow Brain). Of course, touring with Covet and Vasudeva was awesome! Those guys are super talented. Ranges was also awesome to tour with. There’s too many good times to pick and choose which tour we were most grateful for. We have made amazing friends from all over the world because we are able to go out and tour. It’s just been amazing from the get go.

In the future we’d love to tour with This Will Destroy You, Russian Circles, Mogwai, Circa Survive, Thrice, and many more.

Vinny with Tides of Man dunk!festival 2018

Vinny Capitani playing with Tides of Man at dunk!USA festival 2017

We’ve all spent our fair share of time sleeping in vans. Do your wives/girlfriends get jealous that you sleep beside Vinny Capitani on tour?

They were absolutely jealous until he removed his beautiful locks. Now, not so much.

What are some of the most important lessons you’ve learnt about touring as a band?

If you don’t constantly try to improve as a band, and tackle something bigger you end up nagging at each other over stupid shit. We’ve learned this from personal experience. You always have to be pushing yourselves towards being better as a band, and you can never get stuck on the losses.

You’ve all eaten a lot of taco bell in your time, having been sponsored by Taco Bell through the Feed The Beat program. What are your top tips for making the most of the Taco Bell menu? I’m happy to hear vegan options too, seeing as a few of you are vegan.

  1. Order anything grilled “extra crispy”
  2. Add a lot of Fire Sauce
  3. Get that creamy jalapeño sauce too
  4. If you’re vegan, get on that Fresco menu. It’s great.

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    Exploring the Gates Of Hell in Clifton, NJ

    A post shared by Dan Miller (@tidesofdan) on

My favourite memory of the times spent with Tides of Man was when we went on an adventure in New Jersey, exploring the “Gates of Hell” during the time between load in and sound check. What are some other memorable adventures that you’ve been on as a band?

So many amazing memories as a band! Driving all night to see Moab, Utah at sunrise. A day off at Cedar Point Park back in 2010 when we rode coasters all day with the entire tour party. Sky Diving at sunset on the coast of California. No A/C in the van for 5 days in Texas. Holding up signs at shows to find a place to stay for the night. Seeing Europe and the UK for the first time. Taking shots of “Red Death” in Tours, France. These are just a few.

Every Nothing is due out in August. What upcoming plans do you have for the band?

We are playing Fete De Lion festival August 3rd, and then ArcTanGent festival August 18th, and we plan to do a Europe/UK run in-between the two. Later in the fall we will be doing a US run.

Thank you so much for taking the time to answer these questions. I’m enjoying the new record and I’m sure that you are excited to share it with the rest of the world shortly. Is there anything else that you would like to mention?

Yes, thank you Baggins. Only other thing to mention is that you can pre-order our album now over at A Thousand Arms website. Check it out.

Tides of Man pre-order options at A Thousand Arms: https://athousandarms.store/collections/tidesofman

Josh Tides of Man dunk!festival 2018

Josh at dunk!festival 2018

Tides of Man links:

Facebook: https://www.facebook.com/tidesofman/
Bandcamp: https://tidesofman.bandcamp.com/
Twitter: https://twitter.com/tidesofman
Instagram: https://www.instagram.com/tidesofman/
Youtube: https://www.youtube.com/channel/UCGu5lp7dVJNbsYCEjN2Mk_A

All photos by Joseph James (aka Baggins) except a few embedded from Dan’s instagram.

Ranges Ascensionist Tour Update 2: Ypsilianti, Philadelphia, Clifton, Brooklyn

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Tour Day 4 – Tuesday 3 October

W. Cross Station, Ypsilanti, Michigan

Man Mountain, Vision Explored, You Rest, You Joy Life, Hollow Paradise

We drove out of Illinois up to Michigan the night of the Chicago show. We watched another of Joey’s horror films on the way – one called “Strangers”, staring Liv Tyler. The hotel that night left a lot to be desired – the guys swore that it had bed bugs, and the complementary breakfast was stale. I slept in my usual domain – atop the loft in the van – so it didn’t bother me.

Next up was a trip to Guitar Centre. Mark managed to crack his 16″ crash cymbal at some point over the past few days so was keen to replace it, choosing a slightly bigger (and hopefully more durable) 18″ crash to replace it.

I remember chatting to Joey when I first met him a month ago. He mentioned that the band was going near Detroit, his eyes lighting up, He pulled up an article on his phone and showed me some statistics about crime in the area. “We’re going to get stabbed!” he proclaimed excitedly.

Ypsilanti seemed relatively non-descript. Not a big city, but not too small. Not as rough as Joey’s stats would suggest, and certainly not as rough as the area we’d been in, in Chicago the night before. Loading in and setting up was easy. I don’t have a lot to say, except that the songs playing over the PA were way too loud, and the food at the bar was exceptional.

I wasn’t feeling it that night. Man Mountain were great – good music, good beards, friendly dudes – but I wasn’t in the mood for loud music and just hung out in the back.

Tour Day 5: Wednesday 4 October

Voltage Lounge, Philadelphia, Pennsylvania

w/ Tides of Man, This Patch of Sky, VEXES, The Sound of Rescue

Pennsylvania takes a long time to traverse. We spent virtually all day on a free way. Let me tell you, it’s not cheap either! It cost almost $100 to take the toll roads to Philadelphia all day.

Philadelphia is known as the city of brotherly love – the greek translation. Joey set about making the most of the setting by chatting to the guys in Tides of Man – the headliners – who happened to be one of Joey’s favourite bands. The ToM guys were super friendly and it was great to see a “big” band acting so down-to-earth. Maybe this brotherly love thing has clout?

Voltage Lounge – the venue – had a cool feel. Decent sized, with a mezzanine balcony and ample backstage area. Every square inch was covered in graffiti or band stickers – something that I like in venues because it adds character to the place. Oddly enough, the sound guy was friendly and supportive, breaking the stereotype.

First act, The Sound Of Rescue, played post-rock. It was ok. They didn’t push the envelope in any way, but it wasn’t terrible.

VEXES were great. Energetic and heavy, in the vein of Deftones and Thrice. I was getting annoyed at the red lights on stage – something that makes photography a lot harder – so started playing with my camera settings and began shooting in black and white. So thanks to VEXES for helping me evolve my photography skills.

This Patch of Sky came with big expectations. Having recently signed to Equal Vision Records, and released an album to rave reviews, they’d developed a reputation. unfortunately they didn’t meet the hype. Something sounded out-of-tune for the first two songs. Granted, they had a fill-in drummer, and it was their first night of tour. Kit the frontman is interesting to watch. He throws himself around the stage with abandon. Sadly, the rest of the band didn’t match his energy. It didn’t help that half of them play seated. I’ll be seeing them a few more times over the course of the tour so hopefully they fare better in other cities.

Tides Of Man slayed. It was instantly clear why they are headliner material. They played four unreleased songs, as well as content from their album Young and Courageous. The combination of memorable melodies and sheer talent means that there is no way you could dislike this band. That is an objective statement.

Following the gig we tried to navigate Philadelphia’s tight one-streets and went to buy cheese steaks from Pat’s, as you must do when in Philly. There was no parking for a van with trailer, so CJ drove around the block a few times while we picked up the food.

That night I was so exhausted that I fell asleep in the van on the drive to New Jersey, and remained sound asleep in that spot until around 7am. I remember removing my glasses, and in a groggy moment of decision-making, placed them down beside me to be “safe”. To my horror, come morning I discovered I’d slept on top of them and broken the arm.

Tour Day 6: Thursday 5 October

Dingbatz, Clifton, New Jersey

w/ Tides of Man, Gatherers, VEXES, Fence ≇

The hotel we were in was a mere 20 minute drive from Dingbatz, so we made the most of the relaxed morning. Mark and I spent some time in the “fitness centre” – that is, a gym – followed up by a soak in the pool and hot tub. Lunch was at Red Rooster – connected to the hotel – and then we headed to the venue.

Dingbatz was not great. The space to store gear was limited, and the sound guy came across as a total dick. He did play some good music over the PA between sets, including Jakob – which made me feel homesick – but there is no excusing how he treated people.

Tides of Man finished their soundcheck and invited me on an adventure. A quick google search of “things to do in Clifton” revealed a tunnel system a few miles away nicknamed “The Gates of Hell”.

Hell yeah!

I was super stoked to be in a setting other than a tour van or music venue. I handed out flashlights (I call them torches, and I have an incurable addiction) and we climbed down into the abyss.

The guys loved it. We walked through large drains, trying to avoid stepping in any water and inspecting the graffiti on the walls. I’ve done a bit of draining and caving in the past so it was nothing new to me, but still really fun to explore. We chatted on the way. Turns out Tides of Man toured with Australian band Karnivool a few years ago and we bonded over a mutual love of the band.

Back at Dingbatz, after a few beers with the VEXES dudes (Iron Maiden Trooper beers \m/), we watched local act Fence put on a grunge tinted set. They didn’t seem to take it super seriously, but I liked the music.

VEXES did their thing again. I like their style. Gatherers followed, but I didn’t like their intense screaming.

A handful of Mark’s friends had made the trip from New York to Jersey specially to see him. They hadn’t told him their plans, so he freaked out when he saw them. It was cool to see him so excited about catching up with old friends he hadn’t seen in a very long time. And super cool that they’d made the effort to drive all this way, even though we were scheduled to play Brooklyn the next night.

Setting up for Ranges set was interesting to say the least. The sound guy was being a grouch, telling us off because some of the early bands had run over time, putting us late. Mark fell backwards off the stage. He’d thought that it was a wall behind him, but it was just a fabric backdrop. So as I carried a cymbal stand onto the stage I saw him in an odd section between the stage and backstage, on his back with all his limbs in the air, like a stranded beetle stuck upside down. Thankfully he wasn’t seriously hurt.

Mark actually played harder that night – probably a combination of a few beers and trying to show off for his friends who had shown up. The rest of the band caught on and it was nice to see them band together and play well, despite the negative vibes coming from the sound guy.

Following the set we hurriedly took the gear off stage, aware that we were running late. Joey, CJ and I got stranded backstage. We weren’t allowed to open the back door while Tides of Man were playing, and it would have felt rude to run across the stage during their set. All being said, I can think of worse places to be trapped. Tides of Man are incredible. It was nice, having some alone time backstage and listening to great music.

After the show finished and we’d packed our gear into the vans we migrated across the road to another bar. Mark was on fine form, shouting and laughing with old friends. The rest of us hung out with the Tides of Man crew, who shared funny stories about past tours.

That night before bed I reflected on how much fun I was having. I’ve grown really close to the Ranges crew over the past week. We have so many laughs together. I feel so blessed to have had the opportunity to join them on the road.

They’ve given me a nickname: Baggins. And introduce me to their friends as “our New Zealander”. All day they tell me how happy they are to have brought me along. I feel exactly the same.

Tour Day 7: Friday 6 October
Gold Sounds, Brooklyn, New York
w/ So Hideous, This Patch Of Sky and Tides Of Man.

I had been looking forward to this date all tour. Mark has such a larger-than-life personality, and I wanted to see him in his native environment. Plus, he comes from a hardcore/punk background, and kept promising to introduce me to his old band mates and friends who had been involved in the early NYHC scene.

Mark didn’t start the day so chipper though. He’d drunkenly left a bag at the bar and was worried that he wouldn’t get it back. He’s been making an effort to get healthier, so his bag contained medicines and foods like seaweed, dried fruit and nuts, and apple cider vinegar. We rocked up to the bar at midday to see if the bag was still there. Thankfully it was, and I nearly wet myself when I saw the note attached to it. It read: “Someone left their Hippie Survival Bag here Thurs Night”. Brilliant!

The drive to New York had Mark back to his usual self. He excitedly pointed out anything that came to him – where he’d met his wife, a venue he used to attend, where he’d got some tattoos, his favourite pizza spot.

It was surprisingly easy to find a car park for the van a trailer. We took the L line on the subway over to Manhattan and lunched at Katz’s deli at Mark’s insistence: pastrami on rye with mustard. There was a long queue and it was expensive, but damn it was an experience trying to consume such a large sandwich.

It was surreal seeing who had showed up to the gig. Some friends from Bozeman just happened to be in New York on the day. So as well as Wilson and myself (art/merch guy and token New Zealander/roadie), they also had their sound guy and tattoo artist. And there were all the New York locals who showed up to see Mark as well.

They’ve been improving every night, and again, Ranges killed it. Mark went extra hard in front of his punk friends, and CJ and Jared got more physical moving around the stage. Even Joey – not one to rock out much while he plays – nodded his head more than usual. And their light show synced up to the music usually impresses, but tonight it really set them apart from the other bands.

The venue was great. The perfect size to fit everyone. Easy parking, too. Ranges opened for the night, and the place looked packed out. To be fair, it was close to full, but the size of the room enveloped everyone and made it seem more intimate.

Although one major downside was that the only restrooms in the joint were side of stage. So in between sets – when we needed to shift amps and instruments – everyone was queuing right where we wanted to put the equipment.

So Hideous played next. I couldn’t handle the roaring, but I’ll give them credit where it’s due and say that it was awesome seeing a guy shredding on violin.

This Patch Of Sky drew a decent crowd. They played better than in Philadelphia. Guitarist Kit Day snapped a string and ran backstage to borrow another guitar. Dan from Tides Of Man stood near me and watched on nervously. “He better not break a string – I need that guitar for later!” he confided.

Sadly Dan, and the Tides Of Man crew didn’t have a good time on stage. They had issues with their bass cab, meaning that they needed to borrow Jared’s last-minute. And then another amp blew. This pushed their set up time, meaning that they couldn’t fit in a line check, and the mixing levels weren’t to their satisfaction. I can understand that would have been incredibly frustrating, having your gear fail you, and being unable to hear the band as you play.

But, in all honesty, I don’t think it affected their set other than how they were feeling. I loved every minute of it. It sounded great – maybe not perfect, but still fantastic. I could tell that the guys were beating themselves up after the gig, but they needed have worried.

We stayed around until 2am. Mark was reuniting with friends, and the bar had converted to a nightclub, meaning it was hard to pack out gear because we had to push past everyone in the bar. CJ, the trooper that he is, did an all-nighter, driving the five hours to Burlington, Vermont, for dunk!fest. I don’t know how he does it.

Words and photos by Joseph James