Welcome to Quaranstein.
Silverstein have been filling the time that they should have been on tour in North America really well.
The band have posted a short documentary and concert that has been recorded from quarantine.
And be honest, Quaranstein is the best name ever.
Let the band explain how they did it:
"Upon returning home from our postponed North American tour, we knew that we had to find a way to play together. Instead of just hopping on a Zoom call, we actually wanted to record and make this thing sound awesome. Each of us performed and recorded our parts at home, and we passed the whole thing to our producer, Sam Guaiana, to mix it.
From there, we wanted to make what feels like a sitcom, documenting our time in isolation and pulling the curtain back on our daily lives. We enlisted Wyatt Clough, the director behind most of our recent music videos, to help edit and narrate the video. We hope the end result is something that can bring some comfort to our fans who are also isolated during this time, and we can’t wait to step on stage for them again once this is all behind us!"
The band released their latest album 'A Beautiful Place To Drown' earlier this year via UNFD.
Here's 'Bad Habits':
We caught up with frontman Shane Told around the time of release to find out all about the album. You can read the full thing HERE, but here's a little taster:
So where did ‘A Beautiful Place To Drown’ first start coming to life? It’s been 3 years since ‘Dead Reflection’ but the thing is you’ve never really stopped in that time...
“Yeah, we don’t go away. We never stop. In fact we’ve never taken a break in nine albums. It’s been rinse and repeat constantly. I think we had 3 months off once from not doing anything and that’s the longest break we’ve had in the 18 years that we’ve done this full time. But yeah, making ‘Dead Reflection’ was a pretty hard time for me personally. I was going through a lot of anguish and I felt like there were a lot of setbacks. So making that record was a dark time. I can’t say this truthfully, but we did take a lot longer between records this time. We put out some other things, like the ’First 10 Years’ redux record and the ‘When Broken is Easily Fixed’ live album, but we didn’t get this album together for a little while. Once it came down to doing it, we just did it. Let’s pick up the guitar and the pen and see what we have. We didn’t really talk about dramatic changes. It was the same as every record where we went in with a natural approach and saw what came out.”
When you’re on a constant path of learning and trying new things, there isn’t time to think about what direction things will take. You just write from where you’re stood at that exact time...
"Totally. You hear it all the time when artists say ‘This record is going to be our heaviest’ or ‘I wanted it to sound like this band’ or whatever. They have this vision. So they do that and force it. Anytime that you force music, it sounds forced. People see through it because their bullshit detectors work really well. We’ve been conscious of that and we need to be feeling what we are doing 100%. It has to be something that comes organically too. I think that has always been good for us though. We’ve never followed the trends that have come and gone in our scene. Not because we were against them but because they didn’t feel right. We’ve always just tried making the best Silverstein record we can and not always the best post-hardcore record we can."
You mention the different textures this record has. Some of them can be attributed to the array of guests that appear on it. More so, what are the things that have been exciting you when it came to putting the songs together?
“I think the biggest thing we did going into this record was having a different set of rules and parameters for what we were putting on ourselves. For so many years, and I don’t know if it’s because of the scene we grew up in, we felt like we couldn’t do certain things and I think that stifled our creativity a little bit. We can’t put keyboard on this song, we can’t use this synth, we can’t use a kick drum that sounds like it would be in a dance song, we can’t put handclaps in. There are so many things we always said we couldn’t do but then we decided ‘Well, why can’t we?’ Once we took that approach there were no rules anymore. I was a little freaked out by some of it because I knew that people wouldn’t be able to see through the song and think that it’s no longer Silverstein. Though at the end of the day if you put my voice on anything it sounds like Silverstein, for better or for worse.
“With the features too, we tried to get the perfect person for the perfect song. Every feature was our first choice as well. So we thought of the part [on ‘Take What You Give] and said ‘Pierre Bouvier would sound great here’ or ‘We need a guitar solo, who would be best? Let’s get Aaron [Marshall] from Intervals [for Bad Habits’]. Those were all just so organic and as simple as sending a text, watching the dots and then getting the reply like ‘This sounds great, send the track over and I’ll do it this weekend’. It really worked out nicely. Princess Nokia was a little different though because she’s in such a different world. She’s a huge fan of Silverstein though. She was posting stuff about us then she came out to our New York City show and we hung out. We then just decided when we had this song ‘Madness’ which is kind of a male/female perspective song we said ‘Would it be cooler having someone doing more of a talking thing on here’. Right when we had that conversation we all knew Princess Nokia was who it needed to be. It really took that song a notch and told the story. I feel like most of the time a feature for the sake of a feature can make a song worse. We’re always really careful that it’s the absolutely perfect thing for the song. Even if fucking Paul McCartney wanted to do one, he would have to wait for the right song.”
You can pick up this awesome screen print celebrating the band's 20th anniversary from our mates over at Impericon right now from right HERE