Pianos Become The Teeth are a screamo/post-rock (shall we just call it post-hardcore?) band from Baltimore, Maryland who formed in 2006, and are a testament to why music is such an amazing thing. Few bands have graced this planet who make such hauntingly beautiful and chilling music as these living legends have and will for all of eternity (I refuse to accept any notion implying that they are anything less than immortal). Taking their cues from bands such as Envy, City Of Caterpillar, Funeral Diner, Explosions In The Sky, and Thursday, they have constructed masterpieces that will pervade the frames and fill the veins of all blessed enough to have immersed themselves in them. Now, onwards we shall proceed with the fanboy fellation.
1. All Children Make Mistakes
2. Idiosyncracies
This is PBTT's first ever release, though I'm not even sure if was ever officially released. It's a demo, recorded in 2007, consisting of two songs that would later be re-recorded for their proper debut,
Saltwater. The first song, "All Children Make Mistakes", is one of their more straight-up post-rock songs. Gentle, delayed guitar, volume swells, melodic bass lines, soft keys, some electronic tampering reminiscent of This Will Destroy You, and of course the very important crescendo, which ends up being very anti-climatic, in a good way. There's also a tad bit of singing near the end, which was left out of the
Saltwater version. The second song, "Idiosyncrasies", is much more atypical of the band. Pulverising rhythm section, the guitars being awesome, and Kyle and Matt doing some great vocal work. Then the end kicks in, where the band calms down and fades out while some great keyboard work becomes the focus. Oh, and I'm not sure if that's actually the artwork, but it looks awesome so I see no problem there.
1. Gift Of The Giver
2. Your Sister's Handwriting
3. All Children Make Mistakes
4. Idiosyncracies
5. Houses We Die in
6. Interlude
This is the band's first official release, an EP (though it's long enough to be considered a full-length, it clocks in at 27 minutes) titled
Saltwater put out in 2008 by Doomed By Dawn Records. This album, along with the demo and Ezra Joyce split, differs from their later releases because of the inclusion of keyboard player/vocalist Matt Williams. The inclusion of a second vocalist provides unique dynamic not present on their later releases (though Kyle does use multiple vocal tracks), especially since Matt both sings and screams. However, in my opinion (as always), his voice isn't that great (maybe it's just because Kyle's is so good, I don't know). His keyboard playing is also a great addition to the mix. Sometimes it's melodic, sometimes it's synth-y. It's a unique component. The rest of the band is more or less doing what they do best, but are still sort of rough around the edges. To me,
Saltwater doesn't set such a distinct atmosphere like their later songs/albums do, and therefore doesn't leave as strong of an impression. This is not to say that this album isn't as good, it's just more of an indication of the amazing things that the band will do. The guitars still interweave beautifully, but the tones aren't lush (though this is most likely a result of the lower-quality gear and recording). They also haven't mastered the art of seemingly blending post-rock elements with post-hardcore ones. The drums are powerful, but not pummelling like they later will be. Even the vocals aren't quite as developed as they will become. Lyrically, they tread fairly similar ground, T.S. Eliot-inspired stuff, but aren't quite as powerful or emotionally hard-hitting as they will become (though they're still great). I'm sorry, I'm being completely redundant here. All in all,
Saltwater is a very solid album, albeit not as strong as what they would release later. That should sum it up. Seriously, this is some awesome stuff, I don't mean to keep shitting on it. I'm just trying to avoid being biased. But yeah, this is pretty good. It took me a while to get in to though, since
Old Pride was my introduction to them. Not that this is significantly different, it just wasn't
Old Pride to me. Give it a few more listens if you're having that problem, you'll come around. Quick side note: since I wrote this (this post has been kicking around as a draft for a while) I've been listening to
Saltwater quite a bit, and thoroughly enjoying it. Since I don't think anybody actually reads this, I'm just going to leave my above statements there. I still stand by them, but I don't think I'd be as negative the second time around.
Pianos Become The Teeth/Ezra Joyce (2009)
1. Pianos Become The Teeth - Creatures Of Habit
2. Pianos Become The Teeth - Houses We Die In
3. Ezra Joyce - Holmes And Chicago
4. Ezra Joyce - The Depletion Of Suns
In 2009, PBTT put out a split with New Jersey's now-defunct Ezra Joyce. EJ contributed two songs, and PBTT contributed one for sure, but I'm unsure of the second. "Creatures Of Habit" is a monster of a song. It's their longest to date, and probably one of their most "epic", though that's not entirely because of the track's length. The second, if it is supposed to be on here, song is another version of "Houses We Die In", which originally appeared on
Saltwater. This re-recorded version is faster and the production is cleaner (a note on the production: it's slightly different than "Creatures Of Habit", which makes me believe even more so that this song didn't appear on this release. But it's possible that they were just recorded at different times, in a different studio, different engineers, I have no idea, but still put on the same album. Any insight on this would be much appreciated). Overall, I prefer this version, but they're both bewildering. It's also the one they use in the music video, which is also awesome. I don't usually care for videos, but that particular one is pretty cool. This is also the last album to feature Matt Williams, who would be missed if they didn't go and make
Old Pride.
1. Filial
2. Quit Benefit
3. Sleepshaker
4. Prev
5. Pensive
6. Cripples Can't Shiver
7. Jess And Charlie
8. Young Fire
Here we go.
Old Pride was originally released in 2009 by Blackjaw Records, but re-released in 2010 by Topshelf Records. This is their first LP (unless you count
Saltwater), and arguably their best (but let's face it, both albums are sonic perfection). Everything they've done in their already-amazing career just comes together on here, and oh my, is it gorgeous. From the opening arpeggios of "Filial" to the final riff of "Young Fire", everything just screams sincerity. This is one of those albums (and they are one of those bands) that you know are going to impact many generations to come, and kids 20-30 years from now are going to look back on and just go "Damn". The post-rock influence emerges most clearly, but is perfectly blended in with the other aspects of their playing which I can't even properly describe besides as being a true work of genius. The drums are just crushing. From the bass drum intro to "Cripples Can't Shiver" to the flurry of "Jess And Charlie" (those are probably terrible examples since they're right beside each other on the track listing), everything is done right. I think that best describes their drummer. Kevin, I think his name is. He does everything right. He knows when to keep things simple and subtle, but also when to just burst out in a drumming frenzy, where he is literally working every inch of the kit in insanely technical passages (but it's never obnoxious). His build-ups are perfect, and he can come down on a crash cymbal like no one else. This guy is a beast of a drummer. The bass is also perfect (get used that word being used to describe them). It's not incredibly complex, but compliments every other component of the band. His playing really reminds me of Paul Hinojos from At The Drive-In. And of course, the vocals. Kyle's got to be one of my favourite singers/lyricists ever. Lyrically, he tends to dwell in metaphors and unique imagery, so he tends to be pretty oblique and therefore open to interpretation. This is not always the case though, as exemplified by "Cripples Can't Shiver" and especially on their next album
, The Lack Longer After. Vocally, he is heart-shredding. To use a cl
iché, his voice is "dripping with emotion". When applied to him, there's nothing but truth. Just listen to the build-up in "Pensive", or anything they've ever done for that matter. Old Pride. 8 songs. Every one is pure perfection. I could say so much about each one, but I feel like I should leave this as a single entity instead of dissecting it. If you can't already tell, I love this album/band with every ounce of my being. I don't really know what else to say besides "amazing". A note on the artwork: on the physical versions of this album (both LP and CD) the band name and album title aren't on there, yet most pictures of the cover I find on the interwebz have the titles. Maybe it's a digital thing, or the titles appeared on the first version, but removed on the Topshelf release. Maybe it was just done to clarify that it's an album cover and not a picture of some pretty horses. I don't know. It's awesome either way.
1. The Saddest Landscape - Death Becomes Us
2. Pianos Become The Teeth - New Normal
Following
Old Pride, they put out a split with the legendary band The Saddest Landscape, again on Topshelf Records. Both bands contributed one song. PBTT's contribution, "New Normal", is a blistering beauty that stands out even among their already stacked repertoire. This particular song propels them into a sonic fury of pure energy. It sounds as if every member is putting everything they've got into it, to the point that they sound like one seething and pulsating unit, bound to each other in the production of these convulsing airwaves. And oh my, is it sweet. I'd say it's also a lyrical high-point as well. I'd provide examples, but would just end up quoting the whole song. Seriously, these lyrics are just chillingly truthful, and hauntingly beautiful. One a semi-unrelated note, if you haven't heard The Saddest Landscape (the other band on the other side of this split), I highly, highly suggest you check them out. "Death Becomes Us", their contribution to this split, is included below, but seriously just get everything by them. Now.
1. I'll Be Damned
2. Good Times
3. Shared Bodies
4. Such Confidence
5. Liquid Courage
6. Spine
7. Sunsetting
8. I'll Get By
Finally, their most recent release.
The Lack Long After is the band's second full-length (or third, depending on what you think
Saltwater is) and was put out in 2011. It carries on the sound that they've been working with, and displays a development in their technical prowess, which had been consistently increasing. The musicianship is incredible as they keep tightening themselves as a group. Needless to say, it is filled to the brim with awesome riffs, drumming and bass work. The production is also top-notch, as is
Old Pride. Everything's just really solid, you get the point. One slight change I noticed was in the vocals. Maybe it was just because I had adjusted to the Kyle's voice by the time this album rolled around, but I found the vocals to be clearer. There are also some moments where he breaks his usual screeching in favour of a almost singing-like thing, as seen in parts of "I'll Be Damned", "Liquid Courage", and the beginning of "I'll Get By". I personally love the slight changes. This album also shifts lyrically from their previous material. Every song (with the exception of "Shared Bodies") is about Kyle's dad passing away. His battle with multiple sclerosis is touched upon in "Cripples Can't Shiver" from
Old Pride, which means he passed away in between the two, which is only a two-year gap. This makes for some visceral and scathing lyrics and vocals (that sounds like we're benefiting from his pains, though that is true in a strange, albeit comforting, way). The lyrics on here I find to be much more personal and relatable than in their previous work, though all of that is also incredibly crushing. There are times where I almost feel uncomfortable reading/listening to them, such as certain parts in "Such Confidence", because it feels as if I'm intruding on someone's deep and personal secretive feelings. Kyle's pretty open and vulnerable here. Though, like I said, I find despite it being about such a distinct topic, it can still be applied and meaningful to others, and that's where the power is here, and every song is absolutely perfect in terms of lyrics, vocals, music. Hell, everything they do is. What more can be said?
1. Pianos Become The Teeth - Hiding
2. Touché Amoré - Gravity, Metaphorically
So, they just put out a split with the great Touché Amoré, who I'm sure you know, today (January 8th) as a co-release between Topshelf and Deathwish. It's great, perhaps not to the extent that some of both band's previous material, but awesome nonetheless. PBTT's contribution is a song called "Hiding", which is somewhat of a deperature from their usual sound. This is most evident in Kyle's vocal delivery, which is much more toned down and practically sung for the majority of the song, with his usual style only breaking through a few times. The entire song is much calmer and melodic than anything they've done in the past, which in my opinion is a welcome break from their usual stuff (though it is an amazing sound).
1. Ripple Water Shrine
2. April
3. Lesion
4. Old Jaw
5. Repine
6. Late Lives
7. Enamore Me
8. Traces
9. The Queen
10. Say Nothing
Here's their newly released third full-length album. It's out on Epitaph, and is quite a departure from their previous work, though still just as chill-inducing and gripping. They tone down the screaming and distortion in favour of clear, melodic singing, and retain the orchestral post-rock build-ups and tones they had before. They dismiss the frenzy in order to bring a dark, pulsating, passionate and full sound that has some amazing production work on it (courtesy of Will Yip, of course). This is definitely different for them, but an absolute masterpiece all the same!
1. 895
2. Dancing
This is a 7" they released for Record Store Day 2015. It contains two songs that were recorded during the Keep You session. Both songs are definitely solid, and very much in the same vein as the material on Keep You, of course.
1. Fake Lightning
2. Charisma
3. Bitter Red
4. Dry Spells
5. Bay Of Dreams
6. Forever Sound
7. Bloody Sweet
8. Manila
9. Love On Repeat
10. Blue
1. Out of Sight
2. Genevieve
3. The Tricks
4. Easy
5. The Days
6. Mouth
7. Skiv
8. Hate Chase
9. Buckley
10. Pair
Pianos Become The Teeth can destroy and rebuild a person. I've had the honor of seeing them twice, and it is an experience everyone should have. They are incredible, everything's spot on. They remain "exciting" while still retaining the highly emotional aspect present on the records. Not many bands can do that they way they do. Thus why they are one of the greatest, and that's why I consider myself lucky to be able to be around while they are. It's insane to think that they will be what a band that people in years to come will look back on and go "Fuck, I wish I could have been around then for that". Kind of like what Rites of Spring is to me. Ehh, bad example. Maybe At The Drive-in would be more appropriate, and I'm sure some of you must share that sentiment. Hopefully they'll be around longer though, of course. Enough of what they will be. Right now, at this very moment, they are an amazing band still playing shows and writing songs, and for that we are all quite lucky. Anyway, that concludes my possibly longest (and certainly most conceited) post on the great Pianos Become The Teeth.
