#Teranishi Studio

[sinceileftyoublog]

Riot Fest 2021: 9/16-9/19, Douglass Park

BY JORDAN MAINZER

Much like Pitchfork Music Festival earlier this month, this past weekend’s Riot Fest felt relatively normal. Arriving at Douglas Park every day, you were greeted by the usual deluge of attendees in Misfits t-shirts and dyed hair, the sound of faint screams and breakneck guitars and drums emanating from nearby stages. The abnormal aspects of the fest, at least as compared to previous incarnations, we’re already used to by now from 2021 shows: To get in, you had to show proof of vaccination and/or a negative test no older than 48 hours, which means that unvaxxed 4-day attendees had to get multiple tests. Props to the always awesome staff at Riot Fest for actually checking the cards against the names on government-issued IDs.

For a festival that dealt with a plethora of last-minute changes due to bands dropping out because of COVID-19 caution (Nine Inch Nails, Pixies, Dinosaur Jr.) or other reasons (Faith No More/Mr. Bungle because of concerns around Mike Patton’s well-being), there were very few bumps in the road. Whether Riot Fest had bands like Slipknot, Anthrax, or Rise Against in their back pocket as replacements or not, it very much felt like who we saw Thursday-Sunday was always supposed to be the lineup, even when laying your eyes on countless “Death to the Pixies” shirts. Sure, one of the fest’s main gimmicks--peeling back the label on Goose Island’s Riot Fest Sucks Pale Ale to reveal the schedule--was out of date with inaccurate set times and bands, and it still would have been so had Faith No More and Mr. Bungle stayed, since Fucked Up had to drop out last minute due to border issues. But the festival, as always, rolled with the punches.

The sets themselves offered the circle pit and crowdsurfing-inducing punk and metal you’re used to, with a few genre outliers. For so many bands of all styles, Riot Fest represented their first live show in years, and a few acts knew the exact number of days since their last show. For every single set, the catharsis in the crowd and on stage was palpable, not exactly anger, or elation, but pure release.

Here were our favorite sets of the festival, in chronological order.

WDRL

Last October, WDRL (which, amazingly, stands for We Don’t Ride Llamas) announced themselves with a Tweet: “y’all been looking for an alt black band,, well here you go”. A band of Gen Z siblings, Chase (lead guitar), Max (lead vocals), Blake (drums), and Kit Mitchell (bass guitar), WDRL is aware, much like Meet Me @ The Altar (who, despite my hyping, I couldn’t make it in time to see) that they’re one of too few bands of POCs in the Riot Fest-adjacent scene. Their set, one of the very first of the weekend during Thursday’s pre-party, showed them leading by example, the type of band to inspire potentially discouraged Black and brown folks to start punk bands. Max is a terrific vocalist, able to scream over post-punk, scat over funk, and coo over slow, soulful R&B swayers with the same ease. The rest of the band was equally versatile, able to pivot on a dime from scuzzy rock to hip hop to twinkling dream pop. Bonus points for covering Splendora’s “You’re Standing On My Neck”, aka the Daria theme song.

Joyce Manor

Joyce Manor’s self-titled debut is classic. The best part of it as an album play-through at a festival? It’s so short that you can hear it and you’ll still have half a set for other favorites. So while the bouncy “Orange Julius”", “Ashtray Petting Zoo”, and ultimate singalong “Constant Headache” were set highlights, the Torrance, CA band was able to burn through lots from Never Hungover Again, Cody, Million Dollars to Kill Me, and their rarities collection Songs From Northern Torrance. Apart from not playing anything from Of All Things I Will Soon Grow Tired (seriously, am I the only one who loves that record?), Joyce Manor were stellar, from the undeniable hooks of “Heart Tattoo” to the churning power chords of “Catalina Fight Song”. After playing “Christmas Card”, Johnson and company gave one final nod to the original fest cancellation, My Chemical Romance, who were slated to headline 2020, then 2021, and now 2022. If you ever wondered what it would sound like hearing a concise punk band like Joyce Manor take on the bombast of “Helena”, you found out. Hey, it was actually pretty good!

Patti Smith

Behold: a full Patti Smith set! After being shafted by the weather last time around, a sunglasses-laden Smith decided not to fuck around, leading with the inspiring “People Have The Power”, her voice as powerful as I’ve ever heard it. Maybe it was the influence of Riot Fest, but she dropped as many f-bombs as Corey Taylor did during Slipknot’s Sunday night headlining set. After reluctantly signing an adoring crowd member’s copy of Horses, she quipped, “I feel bad for you have to cart that fucking thing around.” It wasn’t just the filthy banter: This was Smith at her most enraptured and incendiary, belting during “Because The Night” and spitting during a “Land/Gloria” medley, reciting stream-of-consciousness hallucinogenic lyrics about the power of escape in the greatest display of stamina the festival had to offer.

Circa Survive

“It feels good to dance,” declared Circa Survive lead singer Anthony Green. The heart and soul of the Philadelphia rock band, who cover ground from prog rock to post-hardcore and emo, Green was in full form during the band’s early Friday set, his falsetto carrying the rolling “The Difference Between Medicine and Poising Is in the Dose” and the chugging “Rites of Investiture”. While the band, too, can throw down, they’re equally interesting when softer and more melodic, Brendan Ekstrom‘s twinkling guitars lifting “Child of the Desert” and “Suitcase”. Ending with the one-two punch of debut Juturna’s introspective “Act Appalled” and Blue Sky Noise’s skyward “Get Out”, Green announced the band would have a new record coming soon, one you hope will cover the sonic and thematic ground of even just those two tracks.

Thrice

Thrice played their first show since February 2020 the same day they’d release their 11th studio album, Horizons/East (Epitaph). To a crowd of fans that came to hear their favorite songs, though, the Irvine, California band knew better than to play a lot of the new record, instead favoring tracks like The Artist in the Ambulance’s spritely title cut and Vheissu standout “The Earth Will Shake”. Yeah, they led with a Horizons/East song making its live debut, the dreamy, almost Deftones-esque “Scavengers”, and later in the set they’d reveal the impassioned “Summer Set Fire to the Rain”. But the set more prominently served to emphasize lead vocalist Dustin Kensrue’s gruff delivery, on “All the World Is Mad” and “in Exile”, the rhythm section’s propulsive playing buoying his fervency. And how about Teppei Teranishi’s finger tapping on “Black Honey”?!? Thrice often favor the slow build-up, but they offered plenty of individually awesome moments.

Smashing Pumpkins

William Patrick Corgan entered the stage to dramatic strings, dressed in a robe, with white face paint except for red hearts under his eyes. He looked like a ghost. That’s pretty much where the semi-serious theatricality ended. The Smashing Pumpkins’ first Chicago festival headlining set in recent memory was the rawest they’ve sounded in a while, counting when they played an original lineup-only set at the United Center a few years back. It was also the most fun I’ve ever seen Corgan have on stage. Though they certainly selected and debuted from their latest electropop turn Cyr, Corgan, guitarist James Iha, drummer Jimmy Chamberlin, guitarist Jeff Schroeder, and company more notably dug deep into the vault, playing Gish’s “Crush” for the first time since 2008, Adore’s “Shame” for the first time since 2010, and Siamese Dream barnburner “Quiet” for the first time since 1994 (!). Best, every leftfield disco jam like set opener “The Colour Of Love”, “Cyr”, and “Ramona” was quickly followed by something heavy and/or recognizable, Chamberlin’s limber drum solos elevating even latter-day material like “Solara”. At one point, Corgan, a self-described “arty fuck,” admitted that years ago he would have opted for more experimental material, but he knew the crowd wanted to hear classics, the band then delving into a gorgeous acoustic version of “Tonight, Tonight”. And while Kate Bush coverer Meg Myers came out to sing Lost Highway soundtrack industrial ditty “Eye”, it was none other than legendary local shredder Michael Angelo Batio who stole the show, joining for the set closer, a pummeling version of Zeitgeist highlight “United States”. Leaning into the cheese looks good on you, Billy.

The Bronx

Credit to L.A. punk rock band The Bronx, playing early on a decidedly cooler Saturday early afternoon, for making me put in my earplugs outside of the photo pit. Dedicating “Shitty Future” to Fucked Up (who, as we mentioned, had to drop out), the entire band channeled Damian Abraham’s energy on piercing versions of “Heart Attack American” as well as “Superbloom” and “Curb Feelers” from their latest album Bronx VI (Cooking Vinyl). Joby J. Ford and Ken Horne’s guitars stood out, providing choppy rhythms on “Knifeman” and swirling solos on “Six Days A Week”.

Big Freedia

The New Orleans bounce artist has Big Diva Energy, for the most part. After her DJ pumped up the crowd to contemporary Southern rap staple “Ayy Ladies” by Travis Porter, Big Freedia walked out and showed that “BDE”, firing through singles like “Platinum” and “N.O. Bounce” as her on-stage dancers’ moves ranged from delicate to earth-shaking. At this point, Freedia can pretty much do whatever she wants, effortlessly segueing between a cover of Drake’s “Nice For What” to “Strut”, her single with electropop DJ Elohim, to a cover of Beyone’s “Formation”. Of course, the set highlight was when she had volunteers from the crowd come up and shake and twerk--two at a time to keep it COVID-safe--all while egging them on to go harder. Towards the end of the set, after performing the milquetoast “Goin’ Looney” from the even-worse-than-expected Space Jam: A New Legacy soundtrack, she pulled out the beloved “Gin in my System”. “I got that gin in my system,” she sang, the crowd singing back, “Somebody gonna be my victim,” a refrain that compositionally not only leaves plenty of room for the thundering bass but is thematically a statement of total power--over sexism, racism, the patriarchy--even in the face of control-altering substances.

Les Savy Fav

During Les Savy Fav’s set, lead singer Tim Harrington at various points--*big breath*--went into the crowd, deepthroated an audience member’s mohawk spike, found a discarded manikin head with a wig on it, revealed the words “deep” and “dish” painted on his thighs and a drawing of a Red Hot on his back, rode a crowd member like a horse, made a headband out of pink tape, donned ski goggles, surfed on top of a door carried by the crowd, squeezed his belly while the camera was on it to make it look like his belly button was singing, and referred to himself as a “slippery eel.” Indeed, the legend of Les Savy Fav’s live show starts and ends with Harrington’s ridiculous antics, as he’s all but out of breath when actually singing dance-punk classics like “Hold On To Your Genre”, “The Sweat Descends”, and “Rome (Written Upside Down)”. We haven’t heard much in terms of new music from Les Savy Fav in over 10 years--their most recent album was 2010′s Root For Ruin--but I could see them and the extremely Aughts genre in general become staples of Riot Fest as albums like Inches, The Rapture’s Echoes, and !!!’s Louden Up Now reach the 20-year mark. Dynamic vocalists, tight bands, and killer grooves: What’s not to love?

State Champs

This set likely wins the award for “most immediate crowd surfers,” which I guess is to be expected when you begin your set with a classic track 1--album 1 combination. “Elevated” is the State Champs number that will cause passers-by to stop and watch a couple songs, the type of song that can pretty much only open or close a set. And because they opened with it, the crowd immediately ramped up the energy. It’s been three years since the last State Champs full-length, Living Proof, so they were in prime position to play some new songs. As such, they performed their bubblegummy “Outta My Head” and “Just Sound” and faithfully covered Fall Out Boy’s “Chicago Is So Two Years Ago” (releasing a studio version earlier this week). But the tracks from The Finer Things and Around the World and Back were, as usual, the highlights, like “All You Are Is History”, “Remedy”, “Slow Burn”, and set closer “Secrets”. At the end of the day, it didn’t entirely matter: The crowd knew every word of every song.

Bayside

Putting State Champs and Bayside back-to-back on the same stage made an easy decision for the many pop-punk bands at Riot Fest. Bayside’s been at it for twice as long, so the breadth of their setlist across their discography is more variable. Moreover, they’ve thrice revisited their discography with acoustic albums of old songs, so even their staples are subject to change. They provided solid versions of Killing Time standouts “Already Gone” and “Sick, Sick, Sick”, Cult’s “Pigsty”, and older songs like their self-titled’s “Montauk” and Sirens and Condolences’ “Masterpiece”. For “Don’t Call Me Peanut”, though, they brought out--*gasp*--an acoustic guitar! It was a rare moment not just for one of the most popular pop punk sets but the festival in general, a breather before Vacancy shout-along “Mary”.

Rancid

“Rancid has always been anti-fascist and anti-racist,” said Tim Armstrong before the band played “Hooligans”. It was nice to hear an explicit declaration of solidarity from the street punks, reminding the crowd what really matters and why we come together to scream and mosh. The band expectedly favored ...And Out Come The Wolves, playing almost half of it, and they perfectly balanced their harder edges with more celebratory ska songs like “Where I’m Going” from their most recent album Trouble Maker (Hellcat/Epitaph). My two favorite moments? The breezy, keyboard-laden “Fall Back Down” from their supremely underrated 2001 album Indestructable, and when they asked the crowd whether they wanted the set to end with “Time Bomb” or “Ruby Soho”. “We have 4 minutes left, and it’s disrespectful to play over your set time,” said Armstrong. It’s easy to see why Rancid continues to make an impression--instrumental and moral--on touring bands new and old.

Run the Jewels

The brilliant hip hop duo are masters of balancing social consciousness with the desire to fuck shit up for fun. Live, the former tends to come in between-song banter, the latter with their actual charismatic, tit-for-tat performances of the songs. However, Run the Jewels also are probably the clearest live performers in hip hop today, Killer Mike and El-P’s words, hypersexual and woke alike, ringing in the ears of audience members who don’t even know the songs. (Looking around, I could see people smiling and laughing at every dick joke, nodding at each righteous proclamation.) Some of the best songs on their most recent album RTJ4 (Jewel Runners/BMG) are perfect for these multitudes. Hearing both RTJ MCs and the backing track of Pharrell Williams and Zack de la Rocha chanting “Look at all these slave masters posin’ on yo’ dollar” on “JU$T” as the rowdy crowd bounced up and down was the ultimate festival moment. For those who had never seen RTJ, it was clear from the get-go, as Killer Mike and EL-P traded bars on “yankee and the brave (ep. 4)” that they’re a unique hip hop act. For the rest of us, it was clear that Run the Jewels keep getting better.

The Gories

It felt a little weird that legendary Detroit trio The Gories were given the first set of the final day--I’d have thought they’d have more draw than that. No matter what, they provided one of the more satisfying and stylistically varied sets of the festival, showcasing their trademark balance of garage punk and blues. Mick Collins and Dan Kroha’s guitar and vocal harmonies were the perfect jangly balance to Peggy O’Neill’s meat and potatoes drumming on “Sister Ann” and “Charm Bag”, while folks less familiar with The Gories were treated to their fantastic covers of Suicide’s “Ghost Rider” and The Keggs’ “To Find Out”. Smells like time for the first Gories album in 20 years!

FACS

I thought it would be ill-fitting to watch a band like FACS in the hot sun, early in the day. Their monochrome brand of post-punk seems better suited for a dimly lit club. But the hypnotic nature of Brian Case’s swirling guitar and Alianna Kalaba’s slinky bass was oddly perfect in a sweltering, faint-inducing heat. Just when you thought you might fade, squalls of feedback and Noah Leger’s odd time signatures picked you back up. Songs from their new album Present Tense (Trouble In Mind) such as “Strawberry Cough” and “XOUT” were emblematic of this push-pull. And everything from the band’s red, white, and black color palate to their lack of stage banter suggested a cool minimalism that was rare at a festival that tends to book more outwardly emotional bands.

Alex G

On one hand, Alex G’s unique combination of twangy alt country and earnest indie rock makes him an outlier at Riot Fest, or at the very least a mostly Pitchfork/occasional Riot Fest type of booking. On the other hand, like a lot of bands at the festival, he has a rabid fanbase, one that knows his back catalog hits, like “Kute”, “Kicker”, and “Bug”, as much as if not more than hyped Rocket and House of Sugar singles, like “Bobby” and “Gretel”. Backed by a band that knows when to be loose and when to tighten up--and the instrumental chops to do so--Alex G was better than he was a Pitchfork three years ago. He still sings through his teeth, making it especially hard to hear him on louder tunes such as “Brick”. But when the honesty of his vocals combines with the dreamy guitars of “Southern Sky” and circular melodies of “Near”, it’s pure bliss. 

HEALTH

The formula for the LA industrial noise band has pretty much always been Jake Duzsik’s soft vocals contrasting John Famiglietti’s screeching bass and pedals and BJ Miller’s mammoth drums. Both in 2018 and Sunday at Riot Fest, the heat affected Famiglietti’s pedals, which were nonetheless obscured by tarp. Or so HEALTH claimed: You wouldn’t know the difference given how much their sound envelops your whole body during one of their live sets. Since their previous appearance at the festival, the prolific band has released two new records on Loma Vista, Vol. 4: Slaves of Fear and collaboration record Disco4: Part 1. Songs from those records occupied half of their excellent set, including battering opener “GOD BOTHERER”, “BODY/PRISON”, and “THE MESSAGE”. It was so wonderfully loud it drowned out K.Flay’s sound check drummer, thank the lord.

Thursday

Last time Thursday played Riot Fest, Geoff Rickly was battling heroin addiction, something he talked about during the band’s triumphant late afternoon set on Sunday. He mentioned the kindness of the late, great Riley Gale of Power Trip in extending a helping hand when he was down and extended his love to anybody in the crowd or even the world at large going through something similar. To say that this set was life-affirming would be an understatement; after 636 days of no shows, Rickly was at his most passionate. He introduced “Signals Over The Air” as a song the band “wrote about men beating up on women in the pit,” that a record exec at the time told them that it wouldn’t age well because he thought--no kidding--sexism would eventually end. Rickly’s voice, suffering from sound issues last time around, simply soared during Full Collapse’s “Cross Out The Eyes”, No Devolucion’s “Fast to the End”, and two inspired covers: Bruce Springsteen’s “Dancing in the Dark” and Texas Is The Reason’s “If It's Here When We Get Back It's Ours”. The latter the band played because TITR guitarist Norman Brannon’s actually on tour with them, though Rickly emphasized the influence the NYC post-hardcore greats had on Thursday when they first started. Never forgetting where they’ve come from, with self-deprecating humor and radical empathy, Thursday are once again a force.

Devo

Much like the B-52′s in 2019, Devo was the set this year of a 70′s/80′s absurd punk band with some radio hits that everybody knows but with a swath of die-hard fans, too. It’s safe to say both groups were satisfied. You walked around the fest all day wondering whether the folks wearing Devo hats were actual fans or doing it for the novelty. By the time the band actually took the stage after a career-spanning video of their many phases, it didn’t really matter, because it was clear the band still had it, Mark and Bob Mothersbaugh and Gerald Casale’s vocals booming throughout a massive crowd. They ripped through “Peek-a-Boo”, “Going Under”, “That’s Good”, “Girl U Want”, and “Whip It”, which caused the fans waiting for Slipknot (and presumably some Devo heads) to form a circle pit. And that was all before the first costume change. Mark passed out hats to the crowd, fully embracing converts who might have only known “Whip It”. The feverish chants of “Uncontrollable Urge” and synth freakouts of “Jocko Homo” whipped everyone into a frenzy. And the band performed the “Freedom Of Choice” theme song for the first time since the early 80′s! I had seen Devo before, opening for Arcade Fire and Dan Deacon at the United Center, but the atmosphere at Riot Fest was more appropriately ludicrous.

Flaming Lips

“The Flaming Lips are the most COVID-safe band in the world,” went the ongoing joke, as throughout the pandemic they’d give audience members bubbles for their bubbles to be able to play shows. The normally goofy and interactive band scaled back for Riot Fest. Before launching into their traditional opener “Race For The Prize”, Wayne Coyne explained that while the band is normally proud of where they come from--Oklahoma City--they’re saddened by the local government’s ignorant pandemic response and wouldn’t risk launching balloons or walking into the crowd because they might be virus spreaders coming from such an under-vaccinated area. To his and the band’s credit, they wore masks during the performance, even when singing; Coyne removed his only when outside of his bubble that had to be deflated and inflated many times and that sometimes muffled his singing voice even more than a mask. Ever the innovative band, they still put on a stellar show. Coyne autotuned his voice on “Yoshimi Battles the Pink Robots, Pt. 1″, making it another instrument filling the song’s glorious pop melodies. Less heavy on props, the band favored a glitchy, psychedelic setlist that alternated between beauty (”Flowers Of Neptune 6″, “Feeling Yourself Disintegrate”, “All We Have Is Now”) and two-drummed cacophony (“Silver Trembling Hands”, “The W.A.N.D.”). They’ll give a proper Lips show soon enough, but in the meantime, it was nice to see them not run through the motions.

Slipknot

Apart from maybe moments of Slayer, I’ve never witnessed a headliner at Riot Fest as heavy as Slipknot was. Even the minor ethereal elements present on their most recent and very good album We Are Not Your Kind, like the chorus of voices during “Unsainted”, were all but abandoned live in favor of straight up brutality. Sure, there were moments of theatricality--Corey Taylor’s menacing laugh on “Disasterpiece” and pyrotechnics in sequence with the instrumentation on “Before I Forget” and “All Out Life”--but for the most part, Slipknot was the ultimate exorcism. Taylor’s new mask, with unnaturally circular eyes, seemed like it came from a particularly uncomfortable skit from I Think You Should Leave. They bashed a baseball bat to a barrel during the pre-encore performance of “Duality”. And the songs played from tape, like the gasping-for-breath “(515)”, were designed to contrast Slipknot’s alien appearance with qualities that were uncannily human. For a band whose performances and instrumental dexterity are otherworldly--who else can pull off tempo changes over a hissing, Aphex Twin-like shuffling electronic beat on “Eyeless”--the pure seething emotion on songs like “Psychosocial” and “Wait and Bleed” shone through. Like Smashing Pumpkins, and like so many other successful Riot Fest headliners, Slipknot abandoned drama for pure, unadulterated dirt.

[teranishistudio]

Vashon Island. Where Teranishi Studio was born and (somehow) grown into a thriving business through 100% trial by fire. There truly was no lack of inspiration here. Thanks for being the best; see ya next year ❤️ (at Vashon Island)

[wearefearlessbr-blog]

Em menos de 1 mês, a banda Thrice desembarca no Brasil pela primeira vez para 3 shows e nós tivemos a honra de conversar com o Teppei, guitarrista da banda sobre o novo álbum “Palms”, as expectativas da banda para a turnê, sobre história da banda, influências e muito mais!

Thrice é uma banda norte-americana de Post-Hardcore fundada em 1998,  a banda possui atualmente 9 álbuns de estúdio lançados e 1 novo álbum que será lançado em breve pela Epitaph Records (confira mais detalhes na entrevista). A banda vem ao Brasil pela primeira vez agora em Agosto com sua turnê sul-americana passando pelo Rio de Janeiro (24/08), São Paulo (25/08) e Curitiba (26/08), além de passar também pela Argentina e Chile. Confira mais informações e adquira já os seus ingressos em: https://pixelticket.com.br

Antes de qualquer coisa gostaríamos de dizer que estamos muito feliz e honrados pela oportunidade e gostaríamos de agradecer a confiança que a Solid Music tem depositado em nós e também ao apoio de todos vocês que seguem e compartilham nossas postagens!

Mas agora vamos ao que importa, esperamos que vocês gostem da entrevista e pra quem quiser, a entrevista original em inglês vai estar no fim do post.

Respondido por Teppei Teranishi (Guitarrista):

We Are Fearless: Primeiramente, obrigado pela oportunidade da entrevista! É uma honra para nós! Já que é a primeira vez que vocês estão vindos para o Brasil, como vocês se sentem sobre finalmente vir pra cá? Vocês sabem alguma coisa sobre a cultura brasileira como lugares, música, comida?

Teppei Teranishi: Estamos todos super animados. Eu queria visitar a América do Sul há muito tempo. O Brasil em particular parece ter uma cultura tão vibrante e especial que está definitivamente na minha lista de lugares que eu quero visitar. Nosso baixista Ed e eu patinamos e vocês têm dominado o skate nos últimos anos, então o Brasil definitivamente também está no meu mapa. Eu acho que uma das melhores maneiras de experimentar uma cultura é através da sua comida, então a idéia de experimentar um pouco de comida brasileira autêntica tem a minha curiosidade. Ainda por cima, adoro o som do português brasileiro. Então sim, estou animado.

WAF: A banda recentemente assinou com uma nova gravadora, a Epitaph Records, o que essa gravadora pode somar ao trabalho da banda e o que podemos esperar agora? Talvez um novo álbum seja lançado em breve?

Teppei: Sim, um novo álbum está chegando! Nós terminamos de gravar há alguns meses e haverá um novo álbum chegando este ano. Acabamos de lançar o primeiro single chamado The Grey, que está disponível para download ou streaming no iTunes, Spotify, etc.

(Confira os detalhes do novo álbum da banda chamado “Palms” que será lançado no dia 14 de Setembro pela Epitaph Records: https://wearefearlessbr.tumblr.com/post/175752421354/a-banda-norte-americano-de-post-hardcore-thrice)

WAF: A banda também lançou um novo single chamado "The Grey", como esta sendo a resposta das pessoas ao redor do mundo e como essa música é diferente das obras anteriores da banda?

Teppei: Acabamos de terminar uma turnê européia e foi nossa primeira vez tocando a música ao vivo e a resposta foi realmente incrível. A música só tinha sido lançada alguns dias antes do início da turnê, mas as pessoas já estavam cantando junto e isso é sempre uma sensação super especial.

WAF: Como a banda começou? Qual foi a maior influência para começar a banda e qual é a sua fonte de inspiração atual para continuar fazendo música desde 1998?

Teppei: A banda era literalmente uma banda de garagem do ensino médio. Dustin e eu começamos a tocar juntos já que ambos tocamos guitarra e gostamos das mesmas músicas. Nós precisávamos de um baixista e eu conhecia Ed por causa do skate. Ele tocou um pouco de guitarra, então perguntamos se ele iria tocar baixo. Ed sugeriu que seu irmão mais velho, Riley, talvez pudesse tocar bateria para nós, quase como um favor (sorte para nós, ele decidiu ficar por perto). Começamos a fazer shows em casa e tudo mais, depois passamos a fazer shows pay-to-play (pague para tocar) em locais pequenos. Tudo tem sido uma lenta bola de neve desde então e aqui estamos nós 20 anos depois de alguma forma ainda fazendo isso! Isso é irreal. Eu acho que nosso amor pela música e pela vontade de criar ainda nos inspira da mesma forma que há 20 anos. Nunca consideramos nada disso garantido e percebemos o quanto somos sortudos e acho que isso nos ajudou a não nos deixar cansados e sim entusiasmados com o que estamos fazendo.

WAF: A banda começou em Irvine, Califórnia, certo? Como era sua cena local na época em que a banda foi formada? Como está a cena agora?

Teppei: Não havia muita coisa acontecendo em punk ou hardcore em Irvine em particular. Havia uma ou outra banda tocando pop-punk e havia algumas bandas do tipo Jam Band por aí. Havia uma cena hardcore bastante forte no Condado de Orange em geral, embora nunca nos encaixássemos de verdade. Eu acho que isso foi uma coisa boa, já que nos forçou a partir de um estado muito inicial e formativo da banda, para fazermos as coisas do nosso jeito.

WAF: Desde o lançamento do primeiro álbum "Identity Crisis" em 2000, qual foi a maior mudança no som da banda?

Teppei: Isso é difícil de dizer, mas eu acho que de uma maneira geral, eu diria que a banda simplesmente amadureceu bastante na musicalidade e composição. Eu sei que é uma resposta muito chata, mas o que quero dizer com isso é que sabemos tocar nossos instrumentos com muito mais sensibilidade e musicalidade e nossas influências se ampliaram amplamente, nos dando um escopo mais amplo e diversificado. Nós também tocamos e escrevemos juntos por tanto tempo que tudo é apenas uma segunda natureza agora.

WAF: Vocês se lembram da sua primeira experiência no palco? Como foi e onde? Desde aquela época, qual foi o seu show favorito até hoje, por quê? E qual sua música favorita para tocar ao vivo?

Teppei: Nosso primeiro show foi uma campanha para arrecadar comida para ajudar os desabrigados, iniciada pelo nosso amigo que trabalhava para a cidade. Nós abrimos o show (com o já mencionado fechamento da banda pop-punk) e nós tínhamos sido uma banda por apenas três meses naquela época. Eu acho que nós tínhamos seis músicas e tocamos todas elas. Eu estava definitivamente um pouco nervoso e me sentia bastante desajeitado no palco, mas era uma sala cheia de amigos, o que tornava tudo muito mais fácil.

Eu não tenho certeza sobre qual foi meu show favorito (eu tenho uma memória tão ruim e nós tocamos tantos shows que todos os nossos shows meio que se misturam).

Músicas favoritas para tocar definitivamente mudam de tempos em tempos, e até da noite para a noite. Nós tocamos “In Exile” pela primeira vez em algum momento nesta última turnê européia e eu diria que essa foi minha música favorita para tocar. Apenas tem um groove realmente divertido de se tocar.

WAF: Qual é a coisa mais difícil sobre estar em uma banda? E qual é a melhor coisa? Qual foi a maior conquista que vocês conseguiram juntos?

Teppei: A coisa mais difícil é definitivamente estar longe o tempo todo. Sou casado, com filhos e é tão difícil, não só para mim, mas para toda a família quando estou fora. É um fato lamentável que sendo uma banda do nosso tamanho, você tem que fazer muitas turnês para sobreviver. Dito isto, adoro viajar e, definitivamente, faço um grande esforço para tirar o melhor proveito disso.

Melhor coisa? Hmm... Há uma tonelada de coisas boas sobre isso, mas eu acho que, quando se trata disso, ser capaz de exercitar minha necessidade de criar e tocar música e ser pago para fazer isso, e ser capaz de fazer tudo isso com alguns dos meus amigos mais próximos.

Eu acho que a maior conquista é poder fazer isso 20 anos depois e com os mesmos 4 caras. Muitas bandas passam por mudanças de formação, mas acho que somos um caso bastante singular, onde Thrice é realmente o conglomerado de nós 4. Não tenho certeza se funcionaria de outra maneira. E ainda somos amigos! Depois desse tempo, é definitivamente uma irmandade mais do que qualquer outra coisa.

WAF: Vocês já imaginaram que um dia sua música poderia levá-lo tão longe que um dia você seria capaz de viajar pelo mundo e chegar a um lugar como o Brasil?

Teppei: Sonhado, talvez? Mas definitivamente nunca pensei que poderia ser uma realidade! Temos muita sorte mesmo...

WAF: Tem algo que vocês querem dizer para todos os seus fãs no Brasil?

Teppei: ‘Obrigado’ pelo seu apoio incrível por todos esses anos e mal podemos esperar para curtir com vocês e celebrar a música juntos. Lamentamos que tenha demorado tanto tempo!

Siga Thrice em:

http://thrice.net/

Facebook: https://www.facebook.com/officialthrice/

Twitter: https://twitter.com/Thrice

Instagram: https://www.instagram.com/thrice/

———————————————————————————————-

In less than a month, Thrice comes to Brazil for the first time for 3 concerts and we had the honor to chat with Teppei, the guitarist of the band about their new album called "Palms", the band's expectations for the tour, about history the band, influences and more!

Thrice is an American Post-Hardcore band founded in 1998, the band currently has 9 studio albums released and 1 new album to be released soon by Epitaph Records (see more details in the interview). The band comes to Brazil for the first time now in August with their South American tour going through Rio de Janeiro (08/24), São Paulo (08/25) and Curitiba (08/26), they’ll be playing as well in Argentina and Chile. Check out more information and get your tickets now: https://pixelticket.com.br

First of all we would like to say that we are very happy and honored by the opportunity and would like to thank the trust that Solid Music has placed in us and also to the support of all of you!

But now we go to what matters, we hope you like the interview:

Answered by Teppei Teranishi (Guitarist):

We Are Fearless: First of all, thank you for the opportunity of the interview! It’s an honor for us! Since it’s the first time you’re coming to Brazil, how do you guys feel about finally coming here? Do you guys know anything about Brazilian culture like Places, Music, food?

Teppei Teranishi: We're all super excited. I've wanted to visit South America for ages now. Brazil in particular seems to have such a vibrant and special culture that it's definitely been on my short list of places I want to visit. Our bassist Ed and I both skate and you guys have been absolutely killing the skate game for the last few years so Brazil's definitely been on my map from that as well. I think one of the best ways to experience a culture is through it's food so the thought of trying some authentic Brazilian food has my super curious. To top it off, I really love the sound of Brazilian Portuguese. So yeah, I'm excited.  

WAF: The band recently signed to a new label, Epitaph Records, this label can add to the band’s work and what we can expect from the band now? Maybe a new album announcement coming soon?

Teppei: Yes, a new record is coming! We finish recording a couple months ago and there will be a new record coming this year. We just release the first single for it called The Grey, which is available for download or streaming on iTunes, Spotify, etc.

WAF: The band also released a new single called “The Grey”, how’s the response from people all around the world and how’s this song different from the band’s past works?

Teppei: We just wrapped up a European tour and it was our first time playing the song live and the reaction was really amazing. The song had only been released a few days prior to the start of the tour but there people were already singing along and that's always a super special feeling. 

WAF: How the band started? What was the biggest influence to start the band and what’s your current inspiration source to keep making music since 1998?

Teppei: The band was literally a high school garage band. Dustin and I started jamming together since we both played guitar and liked the same music. We needed a bass player and I knew Ed from skateboarding. He played a little guitar so we asked him if he'd be down to play bass. Ed suggested his older brother Riley could maybe play drums for us, almost as a favor (lucky for us he decided to stick around). We started off playing house shows and whatnot, then moved onto playing pay-to-play shows at small locals venues. Everything has been slowly snowballing since then and here we are 20 years later somehow still doing it! It's unreal. I think our love of music and drive to create still inspires us, just the same as it did 20 years ago. We've never taken any of this for granted and realize how lucky we are and I think that's helped us from getting jaded and staying excited about what we're doing.

WAF: The band started in Irvine, California right? How was your local scene at the time the band was formed? How’s the scene now?

Teppei: There wasn't a whole lot going on in punk or hardcore in Irvine in particular. There was one other band playing pop-punk and there were a couple jam band type bands around. There was a pretty strong hardcore scene happening in Orange County in general, though we never truly fit in there. I think that was a good thing though, as it sorta forced us from a very early and formative state of the band, to do our own thing. 

WAF: Since the release of the very first album "Identity Crisis" in 2000, what was the biggest change in the sound of the band?

Teppei: That's hard to quantify I think, but I guess very generally, I'd say the band has simply matured a bunch in musicianship and song writing. I know that's a pretty boring answer, but what I mean by that is we know how to play our instruments with much more feel and musicality and our influences have vastly broadened, giving us a wider, more diverse scope. We've also been playing and writing together for so long that it's all just second nature now

WAF: Do you guys remember your first experience on stage? How was it and where? Since that time, what has been your favorite show to date, why? And what’s your favorite song to play live?

Teppei: Our first show was a food drive to support the homeless, put on by our friend who was working for the city. We opened the show (with the aforementioned pop-punk band closing) and we'd only been a band for about three months at that point. I think we had six songs, and we played them all. I was definitely a bit nervous and felt fairly awkward standing on stage, but it was a room full of our friends so that made it a lot easier. 

I'm not sure what my favorite show has been (I have such a bad memory and we've played so many shows that all our shows sorta just blur together). 

Favorite song to play definitely changes from time to time, and even from night to night. We played In Exile for the first time in a while on this last EU tour and I'd say that was my favorite song to play. It just has a really fun groove to play to. 

WAF: What's the hardest thing about being in a band? And what's the best thing? What was the biggest achievement that you guys ever achieved as a band?

Teppei: The hardest thing is most definitely all the time away. I'm married with kids and it's so hard for not only me but for the whole family when I'm away. It's sort of an unfortunate fact that being a band our size, you have to tour a lot to make ends meet. That being said, I love traveling and definitely make a strong effort to make the best of it. 

Best thing? Hmm...there's a ton of great things about it, but I guess when it comes down to it, being able to exercise my need to create and play music and get paid to do it, and to be able to do all that with some of my closest friends.

I think the biggest achievement is being able to do this 20 years later and with the same 4 guys. A lot of bands go through line up changes but I think we're a pretty unique case where Thrice really is the conglomeration of us 4. I'm not sure if it'd work any other way. And we're still friends! After this long, it's definitely a brotherhood more than anything else.

WAF: Did you guys ever imagine that one day your music could take you so far that one day you would be able to travel across the world and then come to a place like Brazil?

Teppei: Dreamed maybe? But definitely never thought it could've been a reality! We're very lucky indeed...

WAF: There’s anything you guys want to say to all your fans in Brazil?

Teppei: Obrigado for your incredible support for all these years and we can't wait to hang with you all and celebrate music together. Sorry it took so long!

Follow Thrice in:

http://thrice.net/

Facebook: https://www.facebook.com/officialthrice/

Twitter: https://twitter.com/Thrice

Instagram: https://www.instagram.com/thrice/

[frankys-playlist]

A Brief Conversation | Teppei Teranishi (Thrice)

by Christine Mai Nguyen (September 2016)

About Thrice, the hiatus, his company Teranishi Studio (leather crafting) and creativity

[ichheisselola]

beach boys.

[michaelarmendariz]

Very limited stock! teranishistudio.com

[teranishistudio]

Hello 👋 It’s been a while... I walked into the studio after a healthy break from Teranishi Studio and sorta stared at everything for a while. I decided to make a couple wallets just to get my head back in the game. Here’s one—an Arc in Natural CXL. $110 shipped (US only). Link in bio. Thanks for sticking around friends 🤙

[teranishistudio]

Here she is - the new Teranishi Studio. As you can see, it's gonna take some work before we can set up shop and pick operations back up. Updates to follow...

[teranishistudio]

Sorry for the lack of posts. Not a whole lot going on out here on the road Teranishi Studio-wise, but here's a rad repost of two Teranishi pieces (Excursion and Teardrop) out in the wild, courtesy of @smoojes. Tag us and/or hashtag #teranishiinthewild with your pieces in use. Love seeing our little buddies in action!

[teranishistudio]

Flashback to dipping our toes in the water with footwear over two years ago(!) now. This was the first installment of the Teranishi Studio subscription we toyed with for a bit. Still wear mine everyday at home! (at Vashon, Washington)

[teranishistudio]

Stoked! 😬(No, shoes are not on the horizon for Teranishi Studio--I have a very long way to go) This has been a personal goal of mine for a long time (actually, the reason I started working with leather in the first place) and I figured it'd really help to expand my skill set and open some new possibilities with my current endeavors. So glad I finally took the plunge and went for it. Just trying to carpe that diem, nah mean? 🤷🏻‍♂️ PS - Thanks Rick! (at Eugene, Oregon)

[teranishistudio]

Forgot to mention this here, but I'm away again until the 26th. Sorry for all the out-of-town-ness but this is what ya boy's been doing with all the back and forth. I'll be away an extra few days on some non-music related stuff this time, but all orders will ship after I get back. Thanks as always for your patience! ✌️ Ps: You can follow more of my non-Teranishi Studio related escapades at @teppeiteranishi, if you feel so inclined. (at Rock on the Range)

[ichheisselola]

#michaelmatches pt: Ford

[ichheisselola]

workspace vibes are high.

[ichheisselola]

more time at home in light.