I was like, ‘Holy shit, this guy does not give half of himself.
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We’d booked a day, maybe two, and when I went in I realised that he’d spent another full day bringing in a tape machine, the board, all his crazy gear, just for one test song. At best, we have an idea of what to do going forward. “What could that hurt? At worst we’d have an experience we didn’t care for. “Ross was down to do just a song,” Steinhardt recalls. The hook up was suggested by their manager, Blaze James, who used to look after At The Drive-In, with whom Robinson changed the course of modern punk on 2000’s Relationship of Command. Around nine months before recording on Lament began in earnest Touché Amoré logged a rapid session to capture the song Deflector with Ross Robinson, testing the water with one of rock’s most storied names. “It was just a case of, ‘While we’re here we should jot these down.’”Īfter touring the reimagined …Dead Horse, the chance to maybe try something different presented itself. “It was so early in the process that it wasn’t even a thought,” Stevens says. While in the studio they demoed several songs that would later make the Lament tracklist, including the opener Come Heroine. Initial work on Lament ran concurrently with the band’s 10-year celebrations for …To The Beat of a Dead Horse, which involved re-recording the album with long-time drummer Elliot Babin, who stepped in for Jeremy Zsupnik almost immediately after its release. I would pick up something else and just go back to it.”Įlsewhere, though, things were a little more out there.
“With those two things I felt like I could do everything. “It’s a ‘68 Custom Deluxe Reverb with an S-63 Nash Stratocaster,” he says. For Stevens, to this point something of a Tele devotee, the LP’s key setup was specific. Steinhardt plays Jazzmasters live and on Lament dabbled with a Thinline Telecaster and a reissue Strat. We do think about not stepping on each other’s toes sonically.” It fills out the mix in such a unique way for a heavy band. I remember the record sounded very separate – the bass occupies one register, one of the guitarists plays a Les Paul, one plays a Telecaster. They recorded it with the same producers who did The Shape of Punk to Come, which was another huge one for me. Steinhardt adds: “A big moment for me was Poison the Well’s You Come Before You. You don’t just have to sound like Fugazi.” “Your taste evolves, you discover different styles of guitar playing. “That’s come with time, playing off each other, and playing live,” Stevens admits. Hardcore can be a musically oppressive mode of expression – crushing heaviness or blackened filth are often its go-to settings – but since 2013’s genre-exploding Is Survived By they’ve been content to exist outside of that.
Steinhardt, guitarist Clayton Stevens and bassist Tyler Kirby have embraced ideas of space and texture, pushing the complementary nature of their partnership into unusual territory. It’s west coast hardcore by way of the Byrds, Tom Petty, Television, and Sonic Youth. In the past 11 years they’ve retrofitted their sound with fresh swatches cribbed from 4AD bands, Laurel Canyon jangle and desert-baked indie-rock. It’s not that they’ve lost contact with the band they were – at points Lament goes as hard as anything on their debut – it’s that they’re never happy in one spot. Over time, their motivations have changed. Touché Amoré formed in Los Angeles a little over a decade ago, releasing their full pelt opening statement …To The Beat of a Dead Horse in 2009.
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