Tigers Jaw

Take Warning Presents:

Tigers Jaw

The Sidekicks, Cherry

Sat, October 6, 2018

7:00 pm

The Crocodile

Seattle, WA

$16 Adv.

This event is all ages

Tigers Jaw
Tigers Jaw
Making yourself vulnerable isn’t easy but it often makes for lasting art and that is certainly true of Tigers Jaw’s fifth full-length, spin. The album marks a new chapter for the Scranton, Pennsylvania-based indie rock band for many reasons: Not only is it the first collection of songs that was completely written and recorded solely by Ben Walsh and Brianna Collins, but it was also the first time they had a full month in the studio without having to worry about outside responsibilities. Furthermore it’s the inaugural release on Atlantic Records’ new imprint Black Cement, a label spearheaded by the band’s longtime collaborator Will Yip who returned to the production helm for spin.

All of these factors converged to create an album that sounds more fully formed than anything Tigers Jaw have done in the past and simultaneously establishes them as a band whose appeal truly transcends genres. While Walsh initially encouraged Collins to start singing lead vocals and songwriting with 2014’s Charmer, the duo’s collective output on spin is a collaboration in the truest sense of a creative partnership. “In a lot of ways this record is a return to the way the band started in the sense that it was coming from two people working very closely together and I think that resulted in something that was really cohesive,” Walsh explains. “The whole experience felt really organic even if the recording process was different than anything we had done in the past together.”

While Tigers Jaw’s previous four albums were recorded on tight deadlines and even tighter budgets, for spin the band would record six days a week for 10 hours a day over the course of an entire month — and while the band didn’t think they’d ever need that much time, ultimately they ended up utilizing every minute. “Having all of that extra time allowed us to track everything song by song to give each individual track its own unique focus,” Walsh explains. “It allowed for the freedom to play around with different ideas rather than keeping things tied to the way we wrote the demos; the performances, tones and structures were really tailored to each individual track which gave us so much room to play around and experiment together.”

From the sweetly syncopated, fuzzed-out bliss of the opener “Follows” to the midtempo melodicism of “June” and liltingly lovely ballad “Bullet,” spin sees Tigers Jaw stretching out sonically and correspondingly Yip was the perfect person to encourage the duo to approach things in a different way than they would have initially conceived. “Will is great at understanding what you want to get out of a song and pushing you to achieve that,” Collins explains when asked about Yip’s role “He had ideas especially about song structures that I might not have thought of and we had enough time in the studio to fully explore a lot of those ideas and see how they turned out. He didn’t try to change the way we wanted the songs to sound but he allowed us to step outside of our comfort zone.”

Tigers Jaw have always been known for their incredibly relatable lyrics and for this album Walsh tried something new: He experimented with stream-of-consciousness writing as a way to get his ideas out of his subconscious in an unfiltered fashion. “The lyrics I wrote for spin are very personal in the sense that there’s a lot of material relating to mental wellness, coming to terms with getting older and pursuing something creative like this band even though that might not be the conventional path for someone my age,” he explains. The album also sees Collins taking a shine to writing duties whether she’s writing a love song like “Same Stone” or getting introspective on the dreamy sounding “Brass Ring.”

Ultimately though, there isn’t much distinction between Walsh and Collins on spin in the sense that the two of them come together to form a collective whole — and not only do their styles perfectly complement each other, but at times their vocals are so in sync that it’s difficult to tell where one person’s voice ends and the other’s begins. “The two of us worked together so closely on this record especially when it came to layering our harmonies and I think along with open guitar chords and Casiotone organs, that’s what really makes this album sound like us,” Collins summarizes. “We needed to do what felt like Tigers Jaw — and I think we were able to do that in a really exciting way this time around.”
The Sidekicks
The Sidekicks
Growing up is weird. Very few of us ever end up doing that thing for a living that we imagined we might when we were kids. Even fewer end up doing the same thing for the rest of our lives that we were doing as teenagers, even if that thing happens to be making music with our friends. In the case of The Sidekicks, a teenage affinity for playing propulsive punk rock somehow, against all odds, managed to turn into a full-time life pursuit. After nearly a decade of making noisy rock music, The Sidekicks have the audacity to finally grow up and their newfound maturity is at the very core of their excellent new album, Runners in the Nerved World.

"This band essentially started when we were kids, when we were fifteen," recalls front man Steve Ciolek. "Every time we make a new record I always stop and ask myself if we're even the same band now. We were in high school, you know? We loved bands like Against Me! and that's where we were coming from. Over the years we've all grown and changed—like anyone does—and you want the art you make to reflect that. It's just funny sometimes to think about it. The Sidekicks feels like an arbitrary moniker sometimes, you know? We're certainly not the same people we were back then."

Formed in Cleveland, Ohio in 2006, The Sidekicks paid their dues according to the old-fashion punk rock model—by playing lots and lots of shows, sleeping on floors, and generally devoting themselves to recording and touring at the expense of any other kind of life. The bands earliest recorded efforts—2007's So Long, Soggy Dog and 2009's Weight of Air—reflected this. By the time they released 2012's Awkward Breeds, the romance of punk rock was beginning to wane and the influence of pop music began to creep in. "To me the appeal of punk rock was that there weren't any rules," says Ciolek. "Now the word "punk" has changed so much. I still like the whole spirit of punk rock, but it's crazy to spend so many years on the road playing with so many bands that all sound exactly the same, like they are all working within this very rigid formula. A lot of our music now feels like a reaction to that, to having been around that for so many years. This record was really about trying to get away from that punk format, even though I have a lot of respect for that music."

For the recording of Runners in the Nerved World the band— Steve Ciolek (Vocals & Guitar), Matt Climer (Drums), and Ryan Starinsky (Bass)—decamped to Seattle to work with famed indie-rock producer Phil Ek, a pairing that proved to be something of a dream come true for Ciolek. "The dream from the very beginning was to work with Phil Ek," says Ciolek, "When that became a reality it was almost too good to be true. It was working with Phil that really shaped the sound of the record. Up until this point we'd just go into a studio for a week and record everything live and that would be it. This time around I just really wanted to make a great pop record. I was ready to abandon that idea that we're a punk band and everything has to sound like we're a punk band playing in a basement somewhere. I wanted to let the songs just go wherever they needed to go, which was liberating. This time we got to spend six weeks on the songs instead of just one."

According to Ciolek, the songs that eventually found their way onto the new record represented a period of growth for the band, which is obvious from the beginning of album-opener "Hell is Warm"—a track whose feather light guitar lines give way to charging drums and Ciolek's soaring vocals asking the question "How do we not get lost?" It seems a fitting question to open an album all about piloting new and mysterious paths. Tracks like "The Kid Who Broke His Wrist" and "Deer" bring to mind the kind of jangly pop euphoria of early Band of Horses or old Built to Spill records, while "Everything in Twos" is the kind of pop punk jam seemingly tailor made for singing along in a car at peak volume. According to Ciolek, the album offers a variety of firsts for the band. " 'Satellite Words and Me' is kind of the first ballad we've ever written, like our version of "The Long and Winding Road" or something," he explains. "Also, 'Jesus Christ Supermalls' is kind of our way of taking a step towards making a real pop song. We weren't trying to get all symphonic or Phil Spector on this record, but there wasn't any rule that we couldn't use strings and things like that. For the first time ever we really let ourselves explore the possibilities of a studio. Plus, Phil Ek really knows how to make guitars sound great and I think he really enjoyed the opportunity to make a real rock record." The end result is an album that feels deceptively effortless; a collection of songs about the need to move forward, packed with buoyant melodies and razor-sharp hooks that go on for days and days.

"At its core, Runners in the Nerved World is about getting past the excitement of growing up and finding new ways to simulate that movement," says Ciolek. "How that movement manifest itself varies from song to song--whether it be chemically (basically all the drinking references), physically ("Blissfield, MI"), or even by having new romantic partners. The point the record is supposed to make is that it's often pretty arbitrary how that movement is simulated. Regardless of the situation, inevitably the characters in these songs just get stuck in those cycles. The record tries to deconstruct that inertia--that constant motivation to run."

As for what happens next for The Sidekicks, Ciolek and the rest of the band look forward to getting back on the road and playing shows that reflect the bands increasingly varied back catalog. "Everything we've done in the past is still relevant for us," says Ciolek. "It's just weird to think about how something just becomes your life's work, you know? It just happens without you even realizing it. Maybe that's what some of these new songs are kind of about. You know, sometimes it's scary to think about doing this when I'm 30 and I'll have been doing this for fifteen years at that point. It's wild. The Sidekicks could be a totally different kind of band by then, which is fine as long as we're still having a good time."
Cherry
Cherry
Venue Information:
The Crocodile
2200 2nd Ave
Seattle, WA, 98121
http://www.thecrocodile.com/