An interview with Peanut
A new Maxi single release from Peanut showcases a great array of emotion that certainly has a particular way of driving the songs, and it feels unafraid, which is something I value when I listen to music that has depth like this record actually does.
This is a blend of alternative, post-rock, grunge, and a bit of progressive undertones, and it all comes together feeling kind of like a record that dropped in an underground late 90s and early 2000s Alt scene.
Growing up listening to bands like Pavement, for example, really helped this release hit me in such a wonderful, nostalgic way because they were able to capture different sides of that era in music. They embodied this aesthetic that you would hear in the underground alternative rock scene back in the day.
Now, while I can't tell you who their influences were right off the bat, I am positive that post-rock played a huge part in their coming up as a band because this is a huge part of their sound and songwriting style.
The release is called Two Songs for Zach, and the first track, "Lullabye B-Side" is an acoustic sort of short that introduces you to the next one. This song in particular struck a chord with me because of its again, highly emotional backbone and lyrics that really pulled you in because of the way they're performed and how subtle, Sullen, and honest it all came through.
The performance is gorgeous. It's full of heart and just has a certain kind of authenticity that hits very hard.
It's definitely a sad song, but one that comes from someplace very real, and this is why it boasts as much impact as it actually does.
Straight from there, you have the second track, "To Grieve", which starts right in with a high-energy set of drums and this great electric but clean guitar, along with vocals that follow along that '90s Pavement-inspired style.
Now, you do have loads of different elements of rock influence here, but again, for me, I grew up listening to specific kinds of rock and post-rock Rock and it just hits that sweet spot the whole way through.
Part of that aesthetic is how they explode into a more sonically driving showcase of sound with distorted guitars that feel grungy but vast, thrashing but still in place, slightly loose but perfectly done because that's the style.
Once this kicks in, everything sort of picks up in terms of the song's tempo or speed. This is another thing I love because you can tell they didn't play to a click track. This is a song that gets a little faster as they play on, giving you the sensation of a live performance.
This is something I absolutely adore because it puts you right there in the moment with the song, the music, and the band.
I love hearing any kind of song or record that lets you know almost immediately that seeing this band live would be awesome.
If you can capture that kind of aesthetic and energy on record this well, then seeing it live would be amazing, and that's not something you hear all the time on record, so coming across it is a sort of a rarity.
Vocals get more intense, you have blends of singing and screaming overlapping each other, the whole thing becomes thickened with textures and layers, higher and higher energy starts coming through, and the whole thing is just absolutely explosive.
Songs that can sort of thrash out on this level and still be super melodic and have heart and purpose are very intense for me.
I love hearing this kind of stuff because it stays with me long after the songs have ended. This is a perfect example of exactly that.
Before I go any further, I want to mention that the band actually did record these songs with Bryce Goggin of Trout Recording, who also actually recorded Pavement, Dinosaur Jr, The Ramones, and more.
I didn't actually know that before starting this review, but now that I know it makes even more sense because I've mentioned the band more than a few times in this article alone.
So there you have it. Part of the reason they're capturing this so well is because they worked with someone who's got so much experience in that genre that it just closed the deal.
Beautifully done from start to finish, again, loads of heart, character, energy, emotion, and smart songwriting that really puts you in the moment with the song for both of the tracks.
This is a record that'll definitely stay with me, and after listening to it I knew I had to talk to the band about it all.
So, while you listen to these songs, have a read-through of the interview we conducted with the band below so you can find out where this all came from and what's coming up next for them.
Do not miss this record, especially if you grew up like me, listening to amazing and classic post-rock, alternative, and grunge all across the board.
TSWS: Let's talk about Two Songs for Zach! This record was a massive blend of indie-rock, grunge, punk, and more!! Where did this record come from?
“Two Songs For Zach” came about pretty quick. We wrote and demoed the two songs in June while writing a larger EP planned for the fall. Then, we hooked up with Bryce and recorded both songs in August as a test run before a larger project. It was a lot of fun and quick. We tracked and mixed in two days.
TSWS: I'm hearing a few different approaches to this release! Who are some of your biggest musical influences?
It’s hard to pin it down, we listen to everything! Before going into the studio we were definitely listening to a lot of Title Fight. I found their first album way late and have been absolutely obsessed this whole past year.
Other influences would include Alice In Chains, Graham Coxon, Wire, Unwound, Tiger Trap, Clovis, Momma, Wipers, and Nirvana. Nirvana has always been my favorite.
TSWS: Did you record this at a home setup, or at a big studio?
First time in a studio! We recorded at Trout Recording which was an amazing experience. And we got to work with Bryce Goggin who’s a legend.
TSWS: How did this all start for you as a band?
I grew up playing music with my brother who I was really close with, and we’d play our favorite albums front to back on bass and guitar. That influenced a lot of my writing and as I got older and moved to NYC, I started playing in DIY bands with our drummer Mike. I found him through a ‘drummer wanted’ flyer I posted at a record shop. He was an electrician at the time and was running electrical outlets. Found the flyer on his lunch break or something.
Fast forward some years I was living in California and decided to demo some songs I wrote. Mike jumped in and upon moving back to New York we started Peanut. We began working with our bassist Mason. “Lullaby” was an older song from the demo and “To Grieve” was a newer song the three of us wrote very much from the ground up - using lyrics and a guitar part that I wrote at the time of writing “Lullaby”.
TSWS: Are you performing live right now?
Yes!
TSWS: Now that this is out, what's next for you?
We are recording five more songs with Bryce right now that we’re really stoked about. We plan to wrap and release by November, and play live as much as possible.
TSWS: Who's in your headphones right now?
A lot of Wilco, Bedridden, Songs:Ohia, anything Adrianne Lenker, Scarlet Rae, and Rose of the World. Also Fishmans and Masayoshi Takanaka. Our drummer Mike is seeing him in Japan this month isn’t that crazy! We love Masayoshi.
TSWS: What would you tell people they can expect on this release?
I think a quick and honest capture of Peanut! It sounds a lot like how we sounded in the room. We tracked as a three-piece in a full take and added few guitar and vocal layers.
TSWS: Before we go, what would you like to express to fans of the music?
Just that I hope you enjoy! And thank you very much for listening. We’re so excited to be sharing our songs!